Pengguna:Rochelimit/Sandbox

Kanō Naonobu

Fujimi saigyō-zu di media byōbu menunjukkan keberanian Naonobu untuk menggunakan ruang negatif.

Kanō Naonobu (狩野 尚信, 25 November 1607 – 7 May 1650) adalah pelukis Jepang yang berasal dari Sekolah seni Kanō pada periode awal Zaman Edo. Kanō Naonobu adalah adik dari Kanō Tan'yū. Kanō bersaudara bersama-sama mengerjakan beberapa komisi penting untuk Keshogunan Tokugawa. Gaya melukis Naonobu berbeda dari Tan'yū dalam penggunaan ruang negatifnya yang berani dan penguasaan Naonobu yang lebih menunjukkan keahlian pada teknik melukis dengan tinta. Naonobu terkadang menggunakan nama seniman Jitekisai (自適斎).

Biografi

Karya Naonobu menunjukkan keahliannya menggunakan teknik kuas tinta.

Naonobu lahir di Kyoto pada hari ke 6 bulan ke-10 tahun Keichō ke-12 (25 November 1607). Naonobu adalah anak kedua dari pelukis Kanō Takanobu yang juga berasal dari sekolah seni Kanō. Kakak Naonobu, Kanō Tan'yū, juga melanjutkan tradisi keluarga sebagai pelukis dari sekolah tersebut.

Pada tahun 1630, keshogunan Tokugawa mengundang Naonobu ke ibu kota administrasi keshogunan tersebut di Edo (sekarang Tokyo). Naonobu menempatkan dirinya didalam bengkel Takekawa yang berafiliasi dengan sekolah kesenian Kanō sebagai seorang goyō eshi, sebuah posisi eksklusif dimana Naonobu adalah pelukis resmi keshogunan. Naonobu belajar dibawah kakaknya Tan'yū dan sangat cepat menangkap teknik melukisnya kakaknya dengan baik. Kedua kakak-beradik Naonobu dan Tan'yū menyelesaikan beberapa komisi penting yang datang dari keshogunan.

Keahlian Naonobu berbeda dengan kakaknya Tan'yū, terutama metode teknik pelukisan dengan tinta dan keberaniannya untuk menggunakan ruang negatif. Dibandingkan kakaknya, karya Naonobu memiliki nuansa yang terasa lebih Jepang karena inspirasinya berasal dari tradisi Yamato-e yang menghargai tradisi lokal. Lukisan Naonobu biasa diterapkan pada pintu geser atau pada partisi. Naonobu biasanya mencoba menyarankan bentuk subjeknya ketimbang langsung menggambarkannya. Beberapa karya Naonobu, seperti Fujimi saigyō-zu pada sebuah layar byōbu menunjukkan ketertarikannya pada kekontrasan, dimana ia menggambarkan Gunung Fuji yang sangat besar dan nyaris tidak tergambarkan didepan sebuah latar belakang yang kebanyakan adalah ruang negatif, dengan beberapa figur kecil orang yang sedang duduk dan menatap Gunung Fuji tersebut.

Dalam kehidupan pribadinya, Naonobu memiliki nama panggilan Shume (主馬). Naonobu menyukai perjalanan ke Kyoto dan bertemu dengan seniman dan bangsawan Kobori Masakazu. Pada tanggal ke-7 bulan ke-4 dan tahun ke-3 Keian (7 Mei 1650), Naonobu dikabarkan menghilang. Ia dikatakan telah meninggal karena penyakit, meskipun rumor beredar bahwa dia telah tenggelam saat memancing atau telah berangkat ke Cina.

Bibliografi

• Yamashita, Yūji (2004). Kanō-ha ketteiban 狩野派決定版. Bessatsu Taiyō (dalam bahasa Japanese). Heibonsha. ISBN 978-4-58292131-1. OCLC 64782262. Pemeliharaan CS1: Bahasa yang tidak diketahui (link)
• Yasumura, Toshinobu (2006). Motto Shiritai Kanō-ha: Tan'yū to Edo Kanō-ha もっと知りたい狩野派: 探幽と江戸狩野派. Tokyo Bijutsu. ISBN 978-4-8087-0815-3. 

Kanō Yasunobu

Korean Embassy to Japan, 1655

Kanō Yasunobu (狩野 安信, 10 January 1614 – 1 October 1685) was a Japanese painter of the Kanō school of painting during the Edo period. He was the third son of Kanō Takanobu, who had been head of the school, and succeeded Kanō Sadanobu as head of the Kyoto branch in 1623 until he joined his brothers in . Yasunobu was the youngest brother of Kanō Tan'yū, one of the most prominent painters of the Kanō school. His best remembered work is the Gadō Yōketsu, a Kanō school history and training manual. He also worked under the art names Eishin and Bokushinsai.

Life and career

Kanō Yasunobu was born in Kyoto on the 1st day of the 12th month of the 18th year of Keichō (10 January 1614). His father was Kanō Takanobu (1571–1618) whose two elder sons Tan'yū and Naonobu moved to Edo (modern Tokyo) to become goyō eshi, an exclusive position painting for the Tokugawa shogunate. The Kyoto line continued after Takanobu's death in 1618 under Kanō Mitsunobu's son Sadanobu, who adopted Yasunobu as he had no heir. Yasunobu succeeded him as head of the Kyoto Kanō in 1623. Yasunobu thus continued the Kyoto line until he also was made goyō eshi and moved to Edo, though he maintained his claim as head of the Kyoto branch.

Yasunobu was a dedicated scholar and painter, but his skill is considered inferior to that of his brothers. His was a studied technique learned through faithful copying of masters' models. His colour work was in the idiom of Tan'yū, and his ink wash painting had a realistic vigour. His most important work was not his painting but the Gadō Yōketsu (画道要訣, "The Secret Way of Painting", 1680), a training manual for Kanō painters and hagiography of the school. Before this book's publication, Kanō techniques were passed down orally from master to apprentice, and there was disunity in the teaching methods of the school's branches.

Yasunobu died in Edo on the 4th day of the 9th month of the 2nd year of Jōkyō (1 October 1685). He also worked under the art names Eishin (永真) and Bokushinsai (牧心斎).

• Works by Kanō Yasunobu
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 

Works cited

• Addiss, Stephen; Groemer, Gerald; Rimer, J. Thomas (2006). Traditional Japanese Arts And Culture: An Illustrated Sourcebook. University of Hawaii Press. ISBN 978-0-8248-2878-3. 
• Gerhart, Karen M. (2003). "Talent, Training, and Power: The Kano Painitng Workshop in the Seventeenth Century". Dalam Brenda G., Jordan; Virginia, Weston. Copying the Master and Stealing His Secrets. University of Hawai'i Press. hlm. 9–30. ISBN 9780824862008 – via Project MUSE. ((Perlu berlangganan (help)). 
• Jordan, Brenda G. (2003). Copying the Master and Stealing His Secrets: Talent and Training in Japanese Painting. University of Hawaii Press. ISBN 978-0-8248-2608-6. 
• Yamashita, Yūji (2004). Kanō-ha ketteiban 狩野派決定版. Bessatsu Taiyō (dalam bahasa Japanese). Heibonsha. ISBN 978-4-58292131-1. OCLC 64782262. Pemeliharaan CS1: Bahasa yang tidak diketahui (link)
• Yasumura, Toshinobu (2006). Motto Shiritai Kanō-ha: Tan'yū to Edo Kanō-ha もっと知りたい狩野派: 探幽と江戸狩野派. Tokyo Bijutsu. ISBN 978-4-8087-0815-3. 

External links

• Templat:Commons-cat-inline

Kanō Takanobu

Portrait of Emperor Go-Yōzei, ca 1610s, colour on silk, 107.2 x 60.2 cm

Kanō Takanobu (狩野 孝信, 1 December 1571 – 18 October 1618) was a Japanese painter of the Kanō school of painting during the Azuchi–Momoyama period (1573–1615). He was the father of Kanō Tan'yū, one of the most prominent painters of the school.

Life and career

Takanobu was born in Kyoto on the 25th day of the 11th month of the 2nd year of Genki. He was the youngest son of the Kanō school head painter Kanō Eitoku (1543–90) and younger brother of Kanō Mitsunobu.

When Kanō Naganobu (1577–1654)—Eitoku's brother—moved at the behest of the recently ascendent Tokugawa shogunate to its new administrative capital of Edo (modern Tokyo) around 1610–15, Takanobu remained in Kyoto, where the commissions he received indicate he was a favourite of the court. At the time only Takanobu and Naganobu had sufficient skill to head branches of the school.

With financial backing from the Tokugawa shogunate, Takanobu conceived and oversaw the painting to be done for the new palace of Emperor Go-Mizunoo, work which was finished in 1614 with Takanobu applying the final touches to many of the sliding panels there and in surrounding buildings. The twenty panels depicting thirty-two Chinese sages in the throne room of the shishin-den are attributed to Takanobu. These panels are some of the few works of Takanobu to have survived, and are the oldest surviving paintings from the shishin-den.

In 1617 Naganobu's eldest son Tan'yū was called to Edo and made a goyō eshi, an exclusive position painting for the shogunate. Another son, Kanō Naonobu (1607–50), succeeded as head of the Kyoto branch upon Takanobu's death in 1618, though he too moved to Edo in 1630. The line continued under Mitsunobu's son Sadanobu, who died without an heir in 1623 but had adopted Takanobu's youngest son Yasunobu, who thus continued the Kyoto line until he also was made goyō eshi and moved to Edo, though he maintained his claim as head of the Kyoto branch.

• Works by Kanō Takanobu
• 
  Hotei, 1616
• 
  Portrait of Murasaki Shikibu
• 
  File:Rakuchu Rakugai-zu, byobu folding screen, Azuchi–Momoyama period

Works cited

• Gerhart, Karen M. (2003). "Talent, Training, and Power: The Kano Painitng Workshop in the Seventeenth Century". Dalam Brenda G., Jordan; Virginia, Weston. Copying the Master and Stealing His Secrets. University of Hawai'i Press. hlm. 9–30. ISBN 9780824862008 – via Project MUSE. ((Perlu berlangganan (help)). 
• Lillehoj, Elizabeth (2011). Art and Palace Politics in Early Modern Japan, 1580s–1680s. Brill Publishers. ISBN 90-04-20612-4. 
• Yamashita, Yūji (2004). Kanō-ha ketteiban 狩野派決定版. Bessatsu Taiyō (dalam bahasa Japanese). Heibonsha. ISBN 978-4-58292131-1. OCLC 64782262. Pemeliharaan CS1: Bahasa yang tidak diketahui (link)
• Yasumura, Toshinobu (2006). Motto Shiritai Kanō-ha: Tan'yū to Edo Kanō-ha もっと知りたい狩野派: 探幽と江戸狩野派. Tokyo Bijutsu. ISBN 978-4-8087-0815-3. 

External links

• Templat:Commons-cat-inline

Kanō Mitsunobu

Ini adalah nama Jepang, nama keluarganya adalah "Kanō".

Kanō Mitsunobu (狩野 光信, 1565–1608) was a son of Kanō Eitoku and an influential artist of the Kanō school of Japanese painting.

Biography

Scholars disagree on the year of Mitsunobu's birth, placing it in either 1561 or 1565. The earliest record of his involvement on any major project was in conjunction with his father's commission to paint elements of Oda Nobunaga's Azuchi Castle. He also worked with his father on a number of other major castles and palaces, including Osaka Castle, Kyoto Gosho, and Toyotomi Hideyoshi's Jurakudai palace.

He received a commission from Toyotomi Hideyori to paint the ceiling of the main hall of Shōkoku-ji in Kyoto with dragons.

After his father's death in 1590, Mitsunobu became the head of the family and of the school. He took over the Kyoto Imperial Palace project, and continued to receive many illustrious commissions. However, in part due to his poor leadership skills and political ability, he lost many commissions and patrons to the rival Hasegawa school of painting.

Style

Portrait of Toyotomi Hideyoshi, by Kanō Mitsunobu

While a master of the fundamental Kanō school style, and that of his father, Mitsunobu expressed elements of his own preferences and skills in his paintings. His color paintings of flowers, trees and similar subjects made extensive use of gold-leaf as most Kanō paintings did, but also displayed a delicate, elegant, and gentle lightness.

References

• Kaputa, Catherine (1985). "Kanō Mitsunobu." Kodansha Encyclopedia of Japan. Tokyo: Kodansha Ltd.

External links

• Momoyama, Japanese Art in the Age of Grandeur, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Kanō Mitsunobu
• Bridge of dreams: the Mary Griggs Burke collection of Japanese art, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Kanō Mitsunobu (see index)

Golden Cock and Hen

Golden Cock and Hen
Chinese: 《金黄公鸡与母鸡》
Seniman	unknown artist
Tahun	19th century (Joseon dynasty)
Tipe	painting
Medium	Hanging scroll, ink and colour on paper
Ukuran	114.3 cm × 45.7 cm (45,0 in × 18,0 in)
Lokasi	Metropolitan Museum of Art, New York
Kode	19.103.2

Golden Cock and Hen (Chinese: 《金黄公鸡与母鸡》) is painting during Korea’s Joseon dynastic period. The painting, which is belonging to the early 19th century, was painted by an unknown artist. The painting itself measures about 114.3 cm in height and 45.7 cm in width. With the decorative elements, the complete painting measures 200.7 cm in height and 62.9 cm in width. This painting represents a combination of two established themes of Korean painting: birds and flowers. Also it consists of ten symbols of longevity–the sun, mountains eater, rocks, clouds, pine trees, turtles, cranes, deers and mushrooms. In the central scene, there is a cock and hens perched on a tree and a rock respectively. This represents fortune and future. Currently, the painting is displayed in Metropolitan Museum of Art, New York, United States.

Description

In the traditional Chinese culture, rooster had been given a significant place. Ancient Chinese people believed that the rooster was a kind of moral animal with excellent qualities. This aspect also affected the neighboring Asian coutries. In the Joseon dynasty of Korean peninsula, auspicious creatures such as the tiger, dragon, crane and deer were represented in a series of artworks demonstrating the importance and universality of these creatures in the Korean Art and culture. The painting, "Golden Cock and Hen" was created in the early 19th century AD, during Korean peninsula’s Joseon dynasty. The painting itself measures 114.3 cm in height and 45.7 cm in width. With the external decorative elements, the complete piece measures 200.7 cm in height and 62.9 cm in width. Due to the lack of documentation, the artist and the specific creation date of the painting cannot be predicated.

In 1919, this painting was granted to the Metropolitan Museum of Art, New York by Rogers Foundation. Between 1984 and 2015 the painting has been displayed seven times in New York, New Orleans, Honolulu, San Francisco, Tulsa and Los Angeles.

External links

• Metropolitan Museum of Art website
• Korean Art from 19th to the 20th century - Metropolitan Museum of Art
• Korean Art – Nary Griggs Berke Collection, Mary and Jackson Berke Foundation

Topi baja dengan delapan plat besi

Korean Helmet of eight plates in the Korean style, Metropolitan Museum of Art, New York.

Helmet of eight plates in the Korean style (Chinese: 朝鲜式八板头盔) is a helmet produced between 14th and 16th centuries in either Korean peninsula or Mongolia. This helmet consists of eight plates made of iron. It is speculated that this helmet style was spread to Korean peninsula from theTibetan regions. Helmets with similar structure can be seen in Tibet, while both versions of the helmet are made of iron and leather. But Korean-style eight plated helmets are distinguished from those of Tibetan style by its relatively smaller size. Usually a Tibetan-style eight plated helmet measures 21–22 cm in height. But this Korean style helmet measures only 13 cm in height. Currently displayed at the Metropolitan Museum of Art, New York, the Korean style helmet measures 24.3 cm in length and 21 cm in width and 1065.9 g in weight.

Description

This kind of helmets called Ba Ban has historically originated in the 8th century AD. It spanned from 8th century to the 16th century AD. Originally it was seen in Tibetan region. The reason why it is called the "Helmet of eight plates", because it consists of eight plates made of iron and leather. Surprisingly, many well-preserved eight plated helmets in the Tibetan style can be observed at several Tibetan monasteries’ The Tibetan style helmets are similar to Korean helmets in structure. But Tibetan ones are quite larger than that of Korean. Usually, a Tibetan style helmet measures 21–22 cm in height and the Korean example at the Metropolitan Museum of Art in New York measures only 13 cm in height. Since, no enough evidence has been found from the research process, it is controversial whether a chin trap with the helmet was used or not. But neither Korean nor Tibetan eight plated helmets were found themselves with a chin strap.

Further reading

• La Rocca, Donald J. (2006). Warriors of the Himalayas: Rediscovering the Arms and Armor of Tibet. 17. New York: The Metropolitan Museum of Art. hlm. 82. 

External links

• Metropolitan Museum of Art website

Ike Gyokuran

Ini adalah nama Jepang, nama keluarganya adalah "Ike".

Mohon jangan gunakan templat "{{Infobox Person}}" di ruang nama pengguna Anda. Gunakan {{Infobox pengguna}}.

Ike Gyokuran (池玉瀾code: ja is deprecated , 1727–1784) was a Japanese Bunjinga painter, calligrapher, and poet. She was famous in Kyoto, Japan, during her lifetime, and she remains a celebrated artist in Japan.

Her parents gave her the birth name Machi (町code: ja is deprecated ). As a child, she was given the art-name Gyokuran, most likely by her painting teacher Yanagisawa Kien (1707–1758). Gyokuran married fellow artist Ike no Taiga, and she is best known by her married name Ike Gyokuran. Her surname before marriage was Tokuyama, and she is also known as Tokuyama Gyokuran.

Early life and education

Gyokuran began to learn to paint at an early age under famous literati painter Yanagisa Kien, who was a regular at her mother's teahouse. It is likely that he was the one to introduce her to Ike no Taiga, who was almost among his students.

Gyokuran's husband Taiga taught her the painting style of the nanga (Southern painting) movement, a Japanese version of a Chinese style. Gyokuran, in turn, taught her husband poetry in the Japanese waka style, in which she was proficient.

Two Autumn Poems, second half 18th century

The couple were renowned for their eccentricity. They created art together, mutually influencing each other, and were also known to play music together for leisure, as equals. This was highly unusual in a country where women were still widely considered inferior to men. It is noted that Gyokuran did not shave her eyebrows, as was customary for married women at the time.

Career and impact

Ike Gyokuran, Fan mounted as a hanging scroll; ink and color on paper. Metropolitan Museum of Art.

Gyokuran painted folding screens and sliding doors, handheld scrolls, hanging scrolls, and fan paintings. "It was exceptionally rare for women in 18th century Japan to be painters," according to Anne d’Harnoncourt, director of the Philadelphia Museum of Art. Gyokuran and her husband Taiga dedicated themselves to making art, living on little money, and sometimes collaborating on art pieces. She lived with Taiga in a small studio next to the Gion shrine in Kyoto. Gyokuran created folding screens, handheld scrolls, hanging scrolls, and fan paintings. She also often painted small scenes, on which she inscribed her poems in calligraphy.

In 1910, her verses were printed alongside a woodblock print of the Matsuya teahouse at the Gion Shrine in the Gion sanjo kashū (Poem Collection of the Three Women of Gion).

To this day, during Kyoto's yearly Jidai Matsuri (Festival of the Ages), young women dress up as prominent female figures of Kyoto history, including Gyokuran.

Awards and honors

Some of Gyokuran's works are designated Japanese National Treasures and Important Cultural Properties.

External links

• "The Nanga Movement," Philadelphia Museum of Art

Ogata Korin

Mohon jangan gunakan templat "{{Infobox Person}}" di ruang nama pengguna Anda. Gunakan {{Infobox pengguna}}.

Ogata Kōrin (Jepang: 尾形光琳; 1658 – June 2, 1716) was a Japanese painter, lacquerer and designer of the Rinpa school.

Kōrin is best known for his byōbu folding screens, such as Irises and Red and White Plum Blossoms (both registered National Treasures), and his paintings on ceramics and lacquerware produced by his brother Ogata Kenzan (1663–1743). Also a prolific designer, he worked with a variety of decorative and practical objects, such as round fans, makie writing boxes or inrō medicine cases.

He is also credited with reviving and consolidating the Rinpa school of Japanese painting, fifty years after its foundation by Hon'ami Kōetsu (1558–1637) and Tawaraya Sōtatsu (c. 1570 – c. 1640). In fact the term "Rinpa", coined in the Meiji period, means "school of [Kō]rin". In particular he had a lasting influence on Sakai Hōitsu (1761–1828), who replicated many of his paintings and popularized his work, organizing the first exhibition of Kōrin's paintings at the hundredth anniversary of his death.

Biography

Kōrin was born in Kyoto into the wealthy Ogata merchant family, dedicated to the design and sale of fine textiles. The family business, named Karigane-ya, catered the aristocratic women of the city. His father, Ogata Sōken (1621–1687), who was a noted calligrapher in the style of Kōetsu and patron of Noh theater, introduced his sons to the arts. Kōrin was the second son of Sōken. His younger brother Ogata Kenzan was a celebrated potter and painter in his own right, with whom he collaborated frequently. Kōrin studied under Yamamoto Soken (active ca. 1683–1706) of the Kanō school, Kano Tsunenobu (1636–1713) and Sumiyoshi Gukei (1631–1705), but his biggest influences were his predecessors Hon'ami Kōetsu and Tawaraya Sōtatsu.

Sōken died in 1687, and the elder brother took over the family business, leaving Kōrin and Kenzan free to enjoy a considerable inheritance. After this, Kōrin led a very active social life, but his spendings run him into financial difficulties the following years, partly due to loans made to feudal lords. This forced him to pawn some of his treasured possessions. A letter sent by him to a pawnbroker in 1694 regarding "one writing box with deer by Kōetsu" and "one Shigaraki ware water jar with lacquer lid" survives.

Kōrin established himself as an artist only late in life. In 1701 he was awarded the honorific title of hokkyō ("Bridge of the Dharma"), the third highest rank awarded to Buddhist artists, and in 1704 he moved to Edo, where lucrative commissions were more readily available. His early masterpieces, such as his Irises are generally dated to this period. During this time he also had the opportunity to study the ink paintings of medieval monk painters Sesshū Tōyō (1420-1506) and Sesson Shukei (c. 1504 - c. 1589). These are seen as important influences in his work from that period, the Rough Waves painting for example.

In 1709 he moved back to Kyoto. He built a house with an atelier in Shinmachi street in 1712 and lived there the last five years of his life. His masterpieces from that last period, such as the Red and White Plum Blossoms screens, are though to have been painted there.

Kōrin died, famous but impoverished on 2 June 1716, at the age of 59. His grave is located at the Myōken-ji temple in Kyoto. His chief pupils were Kagei Tatebayashi, Shiko Watanabe and Roshu Fukae, but the present knowledge and appreciation of his work are largely due to the early efforts of his brother Kenzan and later Sakai Hōitsu, who brought about a revival of Kōrin's style.

Works

Irises (紙本金地著色燕子花図code: ja is deprecated ) is a pair of six-panel byōbu folding screens made circa 1701–05, using ink and color on gold-foiled paper. The screens are among the first works of Kōrin as a hokkyō. It depicts abstracted blue Japanese irises in bloom, and their green foliage, creating a rhythmically repeating but varying pattern across the panels. The similarities of some blooms indicate that a stencil was used. The work shows influence of Tawaraya Sōtatsu, and it is representative of the Rinpa school. It is inspired by an episode in the Heian period text The Tales of Ise.

• Irises
• 
• 

Each screen measures 150.9 by 338.8 centimetres (59.4 in × 133.4 in). They were probably made for the Nijō family, and were presented to the Nishi Honganji Buddhist temple in Kyoto, where they were held for over 200 years. They were sold by the temple in 1913, and are now held by the Nezu Museum, where they are exhibited occasionally (last time, from April 12 to May 14, 2017). They are a National Treasure of Japan.

Kōrin made a similar work about 5 to 12 years later, another pair of six-panel screens, known as Irises at Yatsuhashi (八橋図屏風code: ja is deprecated ). It is a more explicit reference to the Yatsuhashi (Eight Bridges) episodes from The Tales of Ise, including the depiction of an angular bridge that sweeps diagonally across both screens.

"Irises at Yatsuhashi"

The screens were made using ink and color on gold-foiled paper and measure 163.7 by 352.4 centimetres (64.4 in × 138.7 in in) each. They have been held by the Metropolitan Museum of Art in New York City since 1953, and were last displayed in 2013.

Both Irises screens were displayed together for the first time in almost a century in 2012 at the "Korin: National Treasure Irises of the Nezu Museum and Eight-Bridge of The Metropolitan Museum of Art" exhibition at the Nezu Museum.

Wind God and Thunder God (紙本金地著色風神雷神図code: ja is deprecated ) is a pair of two-folded screens made using ink and color on gold-foiled paper. It is a replica of an original work by Tawaraya Sōtatsu which depicts Raijin, the god of lightning, thunder and storms in the Shinto religion and in Japanese mythology, and Fūjin, the god of wind. Later Sakai Hōitsu, another prominent member of the Rinpa school, painted his own version of the work. All three versions of the work were displayed together for the first time in seventy-five years in 2015, at the Kyoto National Museum exhibition "Rinpa: The Aesthetics of the Capital".

• Wind God and Thunder God
• 
  Kōrin's version
• 
  Sōtatsu's original

The screens measure 421.6 by 464.8 centimetres (166 in × 183 in) each. At some point Hōitsu owned them, and in fact he painted one of his most famous works in the back of these screens. The monumental two-sided byōbu screens became a symbol of the Rinpa tradition, but both sides of the screens have since been separated to protect them from damage. They are now part of the collection of the Tokyo National Museum, where they are exhibited occasionally. They are an Important Cultural Property.

Red and White Plum Blossoms (紙本金地著色紅白梅図code: ja is deprecated ) is a pair of two-panel byōbu folding screens painted by Kōrin using ink and color on gold-foiled paper. A late masterpiece, completed probably circa 1712–16 in his atelier in Kyoto, it is considered his crowning achievement. The simple, stylized composition of the work depicts a patterned flowing river with a white plum tree on the left and a red plum tree on the right. The plum blossoms indicate the scene occurs in spring.

No documentation exists from before the 20th century on the commission or provenance of the screens. They receive mention in no Edo-period publications on Kōrin's works and were not copied by his followers, which suggests they were not well known. A journal article in 1907 is the first known publication about them, and their first public display came in a 200th-anniversary exhibition of Kōrin's work in 1915.

In addition to the use tarashikomi, the work is notable for its plum flowers depicted using pigment only, without any outline, now a popular technique known as Kōrin Plum Flowers.

• Red and White Plum Blossoms
• 

Each screen measures 156.5 × 172.5 centimetres (61.6 × 67.9 in). Red and White Plum Blossoms belonged for a long time to the Tsugaru clan, but were pursached by Mokichi Okada in the mid 50s. Along with the rest of Okada's collection, it is now owned by the MOA Museum of Art in Atami, where they are displayed a month per year in late winter, the season when the plum blossoms bloom. It is a National Treasure of Japan.

Gallery

Byōbu folding screens

• 
  Cranes, Pines, and Bamboo
• 
  Autumn Grasses
• 
  Black Pines and Maple Tree (Important Cultural Property)
• 
  The Poet Bo Juyi
• 
  Waves at Matsushima
• 
  Cranes
• 
  Cranes

• 
  Cranes, Pines, and Bamboo
• 
  Tai Gong Wang (Important Cultural Property)
• 
  Ducks and Snow-Covered Pine Trees
• 
  The Thirty-Six Immortal Poets (Important Art Object)
• 
  Rough Waves
• 
  Bamboo and plum tree (Important Cultural Property)
• 
  Flowering Plants in Autumn

Hanging scrolls

• 
  Portrait of Nakamura Kuranosuke (Important Cultural Property)
• 
  The Empress Akikonomu
• 
  The Tales of Ise, Yatsuhashi
• 
  The Immortal Qin Qao
• 
  Cormorant Fishing
• 
  Tiger and Bamboo
• 
  Hotei

Crafts

• 
  Writing Box with Eight Bridges (National Treasure)
• Writing Box with Sumi bay design (Important Cultural Property)
  Writing Box with Sumi bay design (Important Cultural Property)
• Kosode with autumn flower-plants pattern (Important Cultural Property)
  Kosode with autumn flower-plants pattern (Important Cultural Property)
• 
  Square dish, design of poet watching wild geese (Important Cultural Property)
• 
  Square dish with courtier gazing at a waterfall
• Three-case inrô with gourd-vine design
  Three-case inrô with gourd-vine design

References

•  Artikel ini menyertakan teks dari suatu terbitan yang sekarang berada pada ranah publik: Edward Fairbrother Strange (1911). "Kōrin, Ogata". Dalam Chisholm, Hugh. Encyclopædia Britannica (edisi ke-11). Cambridge University Press. 
• Randall, Doanda. (1960). Kōrin. New York: Crown. OCLC 1487440
• Pekarik, Andrew. (1980). Japanese Lacquer, 1600-1900. The Metropolitan Museum of Art.
• Nikoru, C. W. (1997). Japan: The Cycle of Life. Kodansha International. ISBN 978-4-7700-2088-8. 
• Bridge of Dreams: the Mary Griggs Burke collection of Japanese art. (2000) The Metropolitan Museum of Art Libraries. (fully available online as PDF)
• Nussbaum, Louis-Frédéric and Käthe Roth. (2005). Japan encyclopedia. Cambridge: Harvard University Press. ISBN 978-0-674-01753-5; OCLC 58053128
• Daugherty, Cynthia (March 2003). "Historiography and Iconography in Ogata Korin's Iris and Plum Screens" (PDF). Ningen Kagaku Hen. Kyushu Institute of Technology (16): 39–91. 
• Hayakawa, Yasuhiro; Shirono, Seiji; Miura, Sadatoshi; Matsushima, Tomohide; Uchida, Tokugo (2007). "Non-Destructive Analysis of a Painting, National Treasure in Japan" (PDF). Advances in X-ray Analysis. JCPDS-International Centre for Diffraction Data. 50: 57–63. ISSN 1097-0002. 
• Irises and Red and White Plum Blossoms. Secret of Korin's Designs. (2015). Nezu Museum.

External links

• Media tentang Ogata Korin di Wikimedia Commons

Kanō Tan'yū

Mohon jangan gunakan templat "{{Infobox Person}}" di ruang nama pengguna Anda. Gunakan {{Infobox pengguna}}.

Sanjūrokkasen-gaku (Thirty-six Poetry Immortals framed picture) #3: Ōshikōchi no Mitsune

A 1672 work by Tan'yū, from the Freer Gallery of Art.

Ini adalah nama Jepang, nama keluarganya adalah "Kanō".

Kanō Tan'yū (狩野 探幽code: ja is deprecated , 4 March 1602 – 4 November 1674) was one of the foremost Japanese painters of the Kanō school. His original given name was Morinobu; he was the eldest son of Kanō Takanobu and grandson of Kanō Eitoku. Many of the most famous and widely known Kanō works today are by Tan'yū.

In 1617, Tan'yū was appointed by the Tokugawa shogunate to become the shogunate's first official painter. Over the following years, he was given many highly prestigious commissions. Over the 1620s and 1630s, he created a number of large-scale works for Edo Castle, Nijō Castle, Osaka Castle, Nagoya Castle, and Nikkō Tōshō-gū.

Prolific in a variety of painting styles, Tan'yū's most famous works are probably those he produced for these large-scale commissions. They are screens and panels, prime examples of the Momoyama style, depicting natural subjects such as tigers, birds and plants, in bright colors and with extensive use of gold leaf. The gold, often used to represent clouds, water, or other background elements, would reflect what little light was available indoors, brightening a castle's dark rooms.

Tan'yū was also accomplished, however, in monochrome ink painting based on the prototypical style of the Muromachi period, yamato-e compositions in a style similar to that of the Tosa school, and Chinese style scrolls. His most famous yamato-e work is a narrative handscroll depicting the life of Tokugawa Ieyasu, the first Tokugawa shogun and major figure in Japanese history. It was after this commission, in 1640, that the artist first took on the "artist name" of Tan'yū.

In addition to being a highly honored and respected painter in his own right, Tan'yū was known as a collector and connoisseur of Chinese paintings. He made sketches and kept records of many of the paintings that passed through his studio, brought to him for authentication.

See also

• Kusumi Morikage

References

• Kaputa, Catherine (1985). "Kanō Tan'yū." Kodansha Encyclopedia of Japan, Tokyo: Kodansha Ltd.

External links

• Bridge of dreams: the Mary Griggs Burke collection of Japanese art, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on this artist (see index)
• Works in the collection of the Metropolitan Museum of Art.

Pichangatti

Pisau belati (pichangatti) dengan sarungnya dari abad ke-19.

Pichangatti adalah pisau bermata lebar yang ditemukan di bangsa Kodava di Karnataka, India. Karakteristik pichangatti adalah gagang peraknya dengan pommel berbentuk bola berbentuk kepala burung nuri. Pichangatti merupakan bagian dari pakaian tradisional pria orang Kodava.

Asal-usul

Orang kodava dengan pichangatti yang diselipkan didepan sabuk.

Nama pichangatti adalah bahasa Tamil untuk "pisau tangan". Pichangatti adalah pisau tradisional bangsa Kodava. Ayudha katti adalah pedang tradisional bangsa Kodava. Orang-orang Kodava (Kodava, Kannada) tinggal di wilayah Kodagu, di India barat daya yang sekarang terletak di Karnataka. Bangsa Kodava sudah tinggal di wilayah tersebut selama lebih dari dua ribu tahun. Perkembangan senjata ayudha katti dimulai disekitar abad ke-17. Ayudha katti pertama kali dikembangkan sebagai alat untuk memotong semak belukar. Bentuk ayudha katti mirip dengan senjata yatagan di Turki dan sosun pattah di India Utara.

Selama masa kolonial, Inggris menyebut wilayah tersebut Coorg, korupsi dari "Kodagu". Kata kodagu berarti "berbukit" atau "curam", nama yang mengacu pada kondisi geografis wilayah tersebut.

Kodavas dikenal sebagai pejuang yang tidak kenal takut. Untuk melindungi kemerdekaan wilayah mereka, Kodavas melakukan beberapa peperangan dengan tetangga mereka, termasuk dengan Inggris pada tahun 1834. Sebagai tanggapan atas sebuah kerusuhan yang terjadi di dekat Malappuram pada tahun 1884, Inggris menghukum wilayah Kodagu dengan menyita sebagian besar senjata mereka, termasuk ayudha katti. Tercatat 17.295 senjata, 7503 senjata diantaranya adalah senapan, disita oleh pemerintah kolonial. Sebagian besar senjata ini dibuang ke laut, sementara beberapa senjata yang berkualitas tinggi masih bisa dilihat di Madras Museum.

Bentuk

Pichangatti memiliki bentuk yang lebar, berat, dan bermata tunggal. Panjang pichangatti sekitar 7 inch, dengan gagang yang polos dan berakhir dengan pangkal yang bulat. sarung pichangatti dihiasi dengan lempengan kuningan, perak, atau emas. Sebuah rantai melekat pada sarung tersebut, rantai ini membawa bermacam perangkat seperti pinset, pembersih kuku, pembersih telinga, dan sebagainya. Pisau pichangarri selalu dibawa di sisi depan sabuk yang mengusung ayudha katti. Ciri khas pichangatti lain adalah pangkal gagangnya yang dibentuk seperti kepala burung nuri. Sering kali mata burung nuri tersebut dihiasi dengan rubi yang tidak dipotong. Gagang pichangatti bertatahkan perak. Terkadang gagang pichangatti terbuat dari gading.

Sarung pichangatti terbuat dari kayu (atau gading) dan dihiasi dengan logam mulia seperti perak atau kuningan. Sebuah rantai yang terbuat dari perak atau kuningan menghubungkan sarung pichangatti dengan berbagai implement yang digunakan sebagai: tusuk gigi, pinset, pembersih telinga, penusuk, dan artikel untuk membersihkan kuku. Pichangatti hampir sama seperti pisau kantong zaman modern.

Lihat juga

• Ayudha katti

Bibliografi

• Egerton, Earl Wilbraham Egerton (2002). Indian and Oriental Arms and Armour. Dover: Courier Corporation. ISBN 9780486422299. 
• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 

Toradar

Toradar ini mungkin digunakan untuk berburu. Dekorasi di gagang matchlock ini menunjukkan figur-figur hewan di hutan seperti kerbau, macan tutul, dan sebagainya.

Toradar adalah sebuah matchlock yang diciptakan di India pada abad ke-16. Toradar adalah senjata api yang dipilih oleh India, bahkan hingga abad ke-19, dikarenakan desainnya yang mudah dibuat.

Sejarah

Ketika bangsa Portugis tiba di India pada tahun 1498, mereka membawa dengan mereka senjata api, di antaranya adalah senapan matchlock. Pada saat itu, sudah banyak ahli pembuat senjata di India, dan langsung dimulai dari kedatangan bangsa Portugus ini, pengrajin-pengrajin lokal mulai meniru bentuk matchlock portugis dan mengadopsinya untuk penggunaan lokal. Sebagian besar pengrajin ini mulai menerapkan langgam hiasan yang biasa diaplikasikan pada senjata tradisional India. Dalam kurun waktu yang cepat, sebuah gaya lokal yang khas berevolusi pada matchlock Portugis sampai akhirnya sebuah senjata bernama toradar diproduksi di India.

Toradar tetap menjadi pilihan senjata api yang disukai orang India bahkan hingga sekitar tahun 1830. Alasan mengapa matchlock toradar tetap lebih populer di India dibandingkan dengan senjata-senjata api lebih modern seperti wheellock dan flintlock adalah karena lebih mudahnya produksi toradar dan juga lebih murahnya bahan baku yang digunakan untuk produksi toradar.

Deskripsi

Sebuah toradar pada dasarnya adalah sebuah matchlock India. Toradar kebanyakan ditemukan di India Utara dan India Tengah yang lebih banyak dipengaruhi oleh Kesultanan Mughal. Ada dua tipe toradar di India: jenis pertama memiliki bentuk yang sangat tipis dan memiliki panjang dari 3 kaki (91 cm) sampai 6 kaki (180 cm). Toradar jenis ini memiliki gagang yang potongannya berbentuk seperti segi lima, dan memilikilaras yang ringan. Jenis kedua memiliki panjang antara 5 kaki (150 cm) hingga 6 kaki (180 cm), memiliki gagang yang sedikit melengkung dan potongannya berbentuk seperti intan, dan memiliki laras yang sangat berat, dan membesar di ujungnya. Kedua tipe toradar tersebut memiliki tipe kunci dengan bentuk khas India, yang ditutup dengan pan penutup yang biasanya berayun pada pinnya. Plat besi disamping badan toradar ini memperkuat setiap sisi gagang toradar, dan plat besi ini meluas sampai jarak tertentu di setiap sisi kuncinya.

Laras toradar biasanya diikatkan pada gagang toradar dengan menggunakan gelang kawat atau tali yang terbuat dari kulit, yang sering kali melewati sadel perak di atas laras. Tempat mengamati target di sisi belakang toradar pada tipe pertama memiliki bentuk seperti huruf V, sementara itu pada tipe kedua, tempat mengamati target di sisi belakang toradar memiliki ukuran yang jauh lebih besar dibandingkan dengan tipe pertama. Kedua tipe toradar ini memiliki moncong senapan yang diikat dengan cincin cetakan. Tempat mengamati target di sisi depan toradar ini dibuat tinggi sekali. Tempat mengamati target sisi depan ini sering kali dibentuk menjadi bentuk-bentuk figuratif, misalnya hidung manusia atau kepala harimau. Beberapa toradar memiliki laras berbentuk persegi, bahkan dengan lubang senapan berbentuk persegi. Kedua jenis umumnya memiliki clevis untuk tali pengikat dan beberapa memiliki dua tali pengikat.

Dibandingkan dengan matchlock Eropa, pegangan toradar India memiliki bentuk yang jauh lebih sederhana, tidak seperti matchlock Eropa yang memiliki gagang berbentuk seperti ekor ikan. Pegangan ini juga terlalu kecil untuk bisa ditempatkan di bahu. Toradar India biasanya dipegang dibawah lengan.

Sebuah toradar yang digunakan untuk senapan olahraga memiliki lukisan tokoh berburu, misalnya burung, binatang lain, dan lanskap.

Dekorasi artistik

A Rajasthani Toradar with paintings of flowers.

Dekorasi toradar mencerminkan budaya lokal tempat torador dibuat. Untuk matchlock toradar, perajin menghasilkan beberapa seni hiasan yang sangat rumit dari tulang gading atau tatahan logam mulia pada laras dan pada gagang senapan. Sebuah lukisan Kaisar Mughal abad ke-17 Shah Jahan menggambarkan dirinya memegang sebuah toradar dengan hiasan bunga."Matchlock Gun". The Metropolitan Museum of Art. The Metropolitan Museum of Art. 2017. Diakses tanggal November 15, 2017.  Sebuah toradar dari Mysore abad ke-18, di negara bagian Karnataka di India selatan dihiasi dengan bunga dan dedaunan yang ditorehkan pada seluruh permukaan toradar. Dekorasi ini sepenuhnya disepuh dengan emas. Plat sisi samping yang dipahat dengan ukiran-ukiran komples ini terbuat dari besi. Figur-figur binatang terus dimunculkan didalam torador; sementara itu pemegang gagang toradar memiliki bentuk seperti ular naga. Figur kepala harimau juga dimunculkan di pemicu toradar tersebut. Toradar lain dari Narwar abad ke-19 memiliki kepala harimau di ujung larasnya.

Bibliografi

• Blair, Claude (1979). Enciclopedia ragionata delle armi. Milano: Arnoldo Mondadori Editore. </ref>
• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 

Piha kaetta

Piha kaetta, salah satu tradisional Sri Lanka. Piha kaetta ini memiliki gagang yang terbuat dari perak.

Piha kaetta adalah sebuah pisau yang berasal dari pulau Sri Lanka. Piha kaetta memiliki pisau yang punggungnya lurus dan sisi tajamnya melengkung. Piha kaetta diasosiasikan dengan bangsawan Sri Lanka. Pada zaman dahulu, kebanyakan piha kaetta diproduksi di bengkel-bengkel milik kerajaan. Pisau piha kaetta sering kali ditoreh dengan tatahan perak dan memiliki sarung pedang yagn terbuat dari gading.

Pisau belati di Asia Selatan

Selama masa keemasan Kekaisaran Mughal di India antara abad-16 sampai awal abad ke-18, pedang-pedang untuk alat perang mulai diproduksi secara meluas. Belati ini dikenal dengan kualitasnya yang tinggi, hiasannya yang halus dan rumit, dan bentuknya yang elegan. Bentuk-bentuk elegan pada senjata perang Kekaisaran Mughal ditemukan pada banyak belati dan pisau selama periode tersebut. Bentuk-bentuk ini menunjukkan pengaruh dari dunia Islam yang kuat. Banyak dari belati-belati ini bersifat royal dan hanya dipakai oleh para pangeran atau bangsawan untuk membela diri, untuk berburu, atau untuk sekedar dipamerkan. Dalam pertempuran, mereka adalah senjata penting di pertempuran jarak dekat, dan mampu menusuk baju besi prajurit India.

Antara akhir abad ke-17 sampai abad ke-18, Sri Lanka mulai memproduksi piha kaetta secara lokal. Piha kaetta adalah semacam pisau dengan tepi yang anggun yang didesain serupa dengan desain pisau-pisau lain yang ditemukan di anak benua India. Berbeda dengan pisau yang ditemukan di India yang dipengaruhi oleh kebudayaan Mughal dan sering kali digunakan dalam pertempuran, pisau piha kaetta milik Sri Lanka lebih sering digunakan untuk pekerjaan sehari-hari seperti pekerjaan pertanian atau di hutan belantara. Piha kaetta dengan desain terbaik dibuat di "empat lokakarya" (pattal-hatara), sejenis pabrik kerajaan untuk kelompok pengrajin-pengrajin terpilih yang dipekerjaan khusus untuk istana kerajaan, atau untuk orang lain yang diberikan izin oleh raja. Nama "empat lokakarya" mengacu pada masing-masing lokakarya "permata", "mahkota", "pedang emas", dan "tahta". Di Sri Lanka, seni bangunan, seni lukis, seni ukiran gading, seni perhiasan, dan lain sebagainya berada di tangan sebuah persekutuan pengrajin atau kasta pengrajin yang secara turun menurun selalu menempati posisi yang terhormat.

Bentuk

Piha kaetta ini memiliki stylus yang dibawa didalam sarung pisaunya.

Piha kaetta memiliki pisau berat dengan tebal sekitar 05 inch sampai 2 inch dan panjang sekitar 5 inch sampai 8 inch. Piha kaetta memiliki panel yang bertatahkan logam mulia di bagian belakang pisanya, dan ujung lurus yang melengkung begitu mendekati tip nya. Nama Kaetta yang berarti "paruh burung", mungkin mengacu pada ujung melengkungnya.

Piha kaetta yang paling sederhana biasanya terbuat dari baja dengan gagang yang terbuat dari kayu atau tanduk. Piha kaetta berkualitas tinggi selalu memiliki hiasan ornamen yang halus, biasanya di bagian belakang pisau dimana pada bagian tersebut pisau kaetta diukir dengan campuran panel hias perak dan kuningan; atau diukir dengan sangat dalam dan ditutupi dengan daun perak tipis yang tertempel didalam cekungan ukiran. Pegangan piha kaetta berkualitas tinggi biasanya terbuat dari kombinasi bermacam-macam bahan baku seperti logam mulia (emas, perak, kuningan, tembaga, batu kristal, gading, tanduk, baja atau kayu. Gagang ini dibentuk dengan bentuk-bentuk yang sangat khas, terkadang dibentuk seperti kepala sebuah makhluk dari mitologi atau dibentuk seperti ular naga.

Seringkali terdapat stylus bertatahkan perak dibawa didalam sarung pisau piha kaetta.

Bibliografi

• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 
• Wright, Arnold (1907). Twentieth Century Impressions of Ceylon: Its History, People, Commerce, Industries, and Resources. Asian Educational Services. ISBN 9788120613355. 

Topi baja turban

Late 15th-century turban helmet in the style of Turkmen armor.

Topi baja turban adalah sebuah tipe topi baja dari Turki yang berukuran besar dan dikenal dengan bentuknya yang seperti bawang dan lekukan nya yang seperti kain. Nama topi baha turban diambil dari cara pemakaiannya yang biasa dipakai di atas turban. Topi baja turban biasa ditemukan di daerah dimana Kekaisaran Ottoman pernah berkuasa.

Bentuk dan evolusi

Topi baja Turki paling awal berbentuk kerucut dengan plat, rantai atau bantalan pelindung leher. Sejak pertengahan abad ke-14 hingga kira-kira awal abad ke-16 ukuran topi baja Turki menjadi semakin besar dan sering kali dihiasi dengan ukiran-ukiran kompleks. Topi baja Kesultanan Utsmaniyah ini dikenakan oleh prajurit yang mengenakan kain turban di kepalanya, dan oleh karena itu topi baja ini diberi nama topi baja turban. Topi baja turban dikenal dengan bentuk lengkungannya yang berukuran besar. Beberapa contoh topi baja turban memiliki lekukan yang berbentuk spiral dan melandai kebawah, kemungkinan meniru lipatan-lipatan turban. Bentuk khas ini dihasilkan dengan cara menempat piringan besi atau baja tunggal langsung. Finial pada ujung atas topi baja turban dikerjakan secara terpisah. Tepi topi baja turban dipahat membentuk lekukan di atas mata. Selanjutnya pelindung elher yang terbuat dari logam dipasangkan ke bagian tepi topi turban yang kemudian diikat dengan menggunakan tali. Elemen aventail topi baja turban, yaitu sebuah jala terbuat dari logam yang fleksibel, menutupi bagian wajah dan leher. Aventail biasanya dipasang dengan segel timbal yang diberi cap simbol yang biasa digunakan di keprajuritan Kekaisaran Utsmaniyah. Pada bagian depan topi baja turban terdapat batangan besi pelindung hidung yang bisa diatur posisinya. Batangan pelindung hidung ini dipasang ke topi baha turban dengan menggunakan sebuah braket logam yang dipasang di sisi depan topi baja, diantara bukaan untuk mata.

Dekorasi

Topi baja turban dari akhir abad ke-15 yang bertahtakan perak dan emas.

Di Turki Utsmani, kelompok darwis tertentu mengenakan turban yang dilipat dengan jumlah yang mengikuti sebuah peraturan, setiap lipatan mewakili sebuah angka mistis dalam dunia Persufian Islam. Kemungkinan lekukan-lekukan pada topi baja turban dimaksudkan untuk menjadi simbol bahwa perang yang dilakukan oleh prajurit Turki Utsmani tersebut adalah berhubungan dengan misi relijius. Simbolisme agama yang ada pada topi baja turban menunjukkan bahwa pemakainya adalah seorang pejuang dalam sebuah Perang Suci. Topi baja turban yang berukuran berat ini, bersama dengan baju zirah pengenanya, dimaksudkan untuk dikenakan oleh kavaleri berat.

Karena sifat religius dari helm turban, mereka sering kali topi baja turban tersebut memiliki tulisan kaligrafi Arab yang melambangkan kata-kata Allah yang diambil dari Quran. Tulisan-tulisan tersebut sering kali memuliakan penguasa yang diikuti oleh prajurit tersebut. Kata-kata atau doa-doa yang disadur dari Quram dipercaya dapat memberikan kekuatan tambahan kepada pemakainya atau meminta perlindungan kepada Allah. Tulisan-tulisan ini terkadang bertatahkan emas atau perak, dan dihiasi dengan motif-motif arabesque disekelilingnya. Tambahan tatahn logam mulia biasa dilakukan di kemudian hari ketika topi baja tersebut tidak digunakan dan menjadi semacam barang dekorasi yang dipamerkan. Beberapa topi baja turban berisi tulisan-tulisan yang mengajarkna kebajikan.

Cited works

• Alexander, David G. (2015). Islamic Arms and Armor in The Metropolitan Museum of Art. New York City: Metropolitan Museum of Art. ISBN 9781588395702. 
• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 

Rudus

Rudus
A rudus with a style distinctive to the region of northern Sumatra inhabited by the Aceh and Pakpak people.
Jenis	Sword
Negara asal	Malay of Sumatra
Sejarah pemakaian
Digunakan oleh	Malay people
Spesifikasi
Tipe gagang	Wood
Jenis sarung	Wood

A Rudus is a sword or cutlass associated with the Malay culture of Sumatra. Together with the pemandap, the rudus is among the largest swords of Malay people. Rudus is also a symbol of certain Malay state in the Island, e.g. the Province of Bengkulu in Sumatra, Indonesia.

Rudus adalah senjata pedang atau golok yang diasosiasikan dengan kebudayaan Melayu di Sumatera. Bersama dengan pemandap, rudus termasuk kedalam senjata berukuran terbesar bangsa melayu.

Description

The rudus is associated with the Islamic Malay culture. It is found to be more common in Sumatra than in the Malay peninsula. Together with the pemandap, the rudus is considered to be a symbol of the Sumatran Malay culture. The Acehnese people and the Malay of Bengkulu are recorded to have the rudus as their cultural identity. Rudus is also found in the Malay Banjar people of South Kalimantan, where it was an official traditional weapon of the province of South Kalimantan, together with the kuduk.

Rudus diasosiasikan dengan kebudayaan melayu. Rudus lebih umum ditemukan di Sumatera daripada di tanjung melayu. Bersama dengan pemandap, rudus adalah simbol bangsa Melayu di Sumatera. Orang Aceh dan orang Melayu di Propinsi Bengkulu memasukkan rudus sebagai bagian dari identitas kebudayaannya. Rudus juga merupakan senjata tradisional orang-orang Banjar di Kalimantan Selatan, bersama dengan senjata kuduk.

In the Islamic period of Indonesia, the island of Sumatra was divided into multiple small sultanates that were at war with each other. The province of Bengkulu in South Sumatra alone had many sultanates, among the sultanates were the Sultanate of Sungai Serut, Selebar, Pat Petulai, Balai Buntar, Sungai Lemau, Sekiris, Gedung Agung and Marau Riang. These warring sultanate states would equip their warriors with weapons e.g. the badik, rambai ayam and rudus. Rudus was also used in the ceremony of the election of the datuk, the chief of the adat.

Selama masa periode Islam di Indonesia, pulau Sumatera terbagi atas kerajaan-kerajaan kecil yang saling berpernag satu sama lain. Masing-masong kerajaan ini memiliki prajuritnya masing-masing dan mengembangkan berbagai macam senjata perang seperti badik, rambai ayam, dan rudus. Selain sebagai senjata perang, rudus juga digunakan dalam upacara pengangkatan datuk.

During the colonial period, rudus was used by the natives as a form of resistance toward the colonial government. Because of this romanticized patriotic notion of using the rudus to rise against the oppressor, the rudus is featured in the seal of the Bengkulu province to symbolize heroism.

Selama masa kolonial, rudus digunakan oleh penduduk asli sebagai bentuk perlawanan terhadap pemerintah kolonial. Karena gagasan patriotik yang romantis ini dengan menggunakan rudus untuk bangkit melawan penindas, rudus ditampilkan di meterai provinsi Bengkulu untuk melambangkan kepahlawanan.

Form

The seal of the province of Bengkulu features two rudus.

Rudus terdiri dari mata (secara harfiah "mata", mata pisau), ulu ("gagang"), dan sarung ("sarung"). [2]

Rudus sering ditulis dengan tulisan Jawi di bagian pedang, mis. pada pisau atau di gagangnya Skrip Jawi adalah sejenis alfabet Perso-Arab yang digunakan untuk menulis bahasa Melayu, terutama oleh orang Aceh, orang Banjar, dan Minangkabau. Pembuat pedang rudus akan mengukir tanggal selesainya pedang, serta namanya dan desa asalnya. Namun, dalam beberapa kasus, prasasti itu menunjukkan tanggal hiasan ulang pisau itu. Sebuah rudus yang disimpan di Metropolitan Museum of Art di New York City memiliki prasasti yang mengidentifikasi bahwa seniman tersebut berasal dari sebuah desa di Semenanjung Malaysia, namun bentuk hiasannya tidak endemik di Semenanjung Malaysia, namun lebih ke wilayah Sumatera utara yang dihuni oleh orang Aceh dan Batak Pakpak. Ini menunjukkan bahwa rudus dibuat di Sumatera dan kemudian didekorasi di negara tetangga Malaysia. [3]

Prasasti bisa ditulis di atas pisau atau di gagangnya. Contoh Museum Metropolitan Art memiliki prasasti bertatahkan emas. Beberapa memilih untuk mengukirnya di gagang kayu. [3]

Rudus dibawa tersandang di samping.

The rudus consists of the mata (literally "eyes", the blade), the ulu ("hilt"), and the sarung ("sheath").

The rudus is often inscribed with Jawi script at parts of the sword, e.g. at the blade or at the hilt. The Jawi script is a kind of Perso-Arabic alphabet that was used for writing the Malay language, especially by the Acehnese, Banjarese, and Minangkabau. The maker of the rudus sword would carve the date of the completion of the sword, as well as his name and his village of origin. In some cases however, the inscription indicated the date of the re-decoration of the blade. A rudus kept in the Metropolitan Museum of Art in New York City has inscription which identifies that the artist came from a village in Peninsular Malaysia, however the shape of the decoration is not endemic to the Peninsular Malaysia, but more to the northern Sumatran region which is inhabited by the Aceh and the Batak Pakpak people. This indicates that the rudus was made in Sumatra and then decorated in neighboring Malaysia.

Inscriptions can be written on the blade or on the hilt. The Metropolitan Museum of Art example has the inscriptions inlaid with gold. Some chose to carve it on its wooden hilt.

The rudus is carried slung at the side.

Cited works

• Newbold, T.J. (1839). Political and Statistical Account of the British Settlements in the Straits of Malacca. Oxford University. 

Kulah khud

A style of helmet known as top in India. This top came from the Deccan region.

A kulah khud (known in India as top) is a type of helmet worn by warriors across much of Indo-Persian world from late medieval times onward. Characteristic features are the mail aventail veil, the spike holder on top, and two to three plume holders.

Kulah khud (dikenal di India dengan nama top) adalah sebuah tipe topi baja yang digunakan oleh prajurit-prajurit di daerah Indo-Persia dimulai dRi Abad Pertengahan. Ciri-ciri kulah khud adalah pelindung rantai yang terpasang di bagian bawah helm, duri di atas, dan dua tempat bulu di sisi kiri dan kanan.

Form and origin

Kulah khud mungkin berasal dari Asia Tengah. [2] Mereka dicatat untuk dipakai sebagian besar orang Indo-Persia di wilayah ini, mis. orang Arab, Persia, Turki dan India. Mereka biasanya terbuat dari baja. Kulah khud berbentuk mangkuk, baik rendah maupun datar, atau tinggi dan runcing. Ini mungkin berisi soket spike di bagian atas helm, yang menyerupai ujung tombak dengan bagian seperti salib. Dua (atau tiga) pemegang plume dilekatkan pada kedua sisi tengkorak, digunakan untuk memasang bulu seperti egret. [3] [4]

Fitur kulah khud yang paling mencolok adalah aventail surat besi dan kuningan atau kuningan dan tembaga yang tergantung di dasar helm untuk melindungi leher, bahu, dan bait pada wajah. Terkadang, surat aventail meluas ke bawah untuk menutupi mata dan bahkan hidungnya. Ujung bawah aventail surat sering bekerja dalam bentuk lonjakan segitiga, sehingga bisa tetap terbungkus relatif di sisi depan dan belakang bahu pejuang. [4]

Batang hidung geser yang terbuat dari besi atau baja menempel pada bagian depan helm dengan braket dan dapat disesuaikan pada posisinya. Bila tidak digunakan, bar hidung bisa diikat dengan kaitan dan kait, atau kadang dengan sekrup set. Dua ujung bar hidung diperluas menjadi piring, membentuk semacam finial. Di beberapa helm India, ujung bawah batang hidung sangat membesar dalam bentuk bulan sabit sehingga menutupi sebagian besar wajah di bawah mata. Ada versi langka dari kulah khud dimana ada tiga besi hidung untuk melindungi hidung dan pipi. [4]

The kulah khud probably originated in Central Asia. They were recorded to be worn by most Indo-Persians of the region, e.g. the Arabs, Persians, Turkish and Indian. They were usually made of steel. Kulah khud is bowl-shaped, either low and flat, or high and pointed. it may contain a spike socket at the top of the helmet, which resembles a spearhead with its cross-like section. Two (or three) plume holders are attached on either side of the skull, used to mount feathers such as the egret.

The kulah khud's most striking feature is the iron-and-brass or brass-and-copper mail aventail that hung at the base of the helmet to protect the neck, shoulders, and the temple of the face. Sometimes, the mail aventail extends down to cover the eyes and even the nose. The low end of the mail aventail is often worked in a form of triangular spikes, so that they could stay relatively affixed on the front- and back-side of the warrior's shoulder.

A sliding nasal bar made of iron or steel is attached to the front of the helmet with a bracket and can be adjusted in position. When not in use, the nasal bar could be fastened up by a link and hook, or sometimes by a set screw. The two ends of the nasal bar expanded into plates, forming a kind of finial. In some of the Indian helmets, the lower end of the nasal bar is enormously enlarged in a crescent form so that it cover most of face below the eyes. There is a rare version of the kulah khud where there are three nasal irons to protect the nose and the cheeks.

Decoration

A highly ornate top from 18th-century Mughal warrior.

The kulah khud has a relatively similar identifiable form, but their decoration greatly varies. Parts of the kulah khud, especially the skull and the nasal bar, were heavily decorated with patterned motifs of inlaid brass, silver or gold; or decorated with figural images. A Mughal top helmet features calligraphic inscriptions from Quran, supposedly to protect the wearer from harm or to gain a speedy victory. A top discovered in Gwalior, India, features a skull-and-crossed-bones motif, a sign of European influence. The upper and lower finial of the nasal bar is also the focus of artistic decoration in the kulah khud. One example is an image of the elephant-headed Hindu god Ganesha carved on the upper finial of the nasal bar of a Sikh top.

Kulah khud memiliki bentuk pengenal yang relatif sama, namun dekorasi mereka sangat beragam. Bagian dari kulah khud, terutama tengkorak dan nasal bar, dihiasi dengan motif bermotif kuningan, perak atau emas bertatah; atau dihiasi dengan gambar figural. Helm top Mughal menampilkan prasasti kaligrafi dari Quran, yang seharusnya melindungi pemakainya dari bahaya atau untuk mendapatkan kemenangan yang cepat. Bagian atas yang ditemukan di Gwalior, India, menampilkan motif tengkorak dan lintang tulang, tanda pengaruh Eropa. Bagian atas dan bawah nasal bar juga merupakan fokus hiasan artistik di kulah khud. Salah satu contohnya adalah gambar dewa Hindu berkepala gajah Ganesha yang diukir di ujung atas batang hidung bagian atas Sikh.

Revival

Despite modernization of Iran’s military in the nineteenth century, traditional armor continued to be manufactured. They are often served only for military parades, as costume for religious or historic plays, or as souvernirs.

Meskipun modernisasi militer Iran di abad kesembilan belas, armor tradisional terus diproduksi. Mereka sering dilayani hanya untuk parade militer, sebagai kostum untuk drama religius atau sejarah, atau sebagai souvernir.

Bibliografi

• Gahir, Sunita; Spencer, Sharon, ed. (2006). Weapon - A Visual History of Arms and Armor. New York City: DK Publishing. ISBN 9780756622107. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 

Dao

Dao
Assamese Dao with scabbard, 19th-century
Jenis	Sword
Negara asal	India, Assam and Nagaland
Sejarah pemakaian
Digunakan oleh	Naga people
Spesifikasi
Berat	2.665 gram (94,0 oz)
Panjang	45 sentimeter ()-65 sentimeter ()
Lebar	51 sentimeter ()
Tipe pedang	Single edge
Tipe gagang	wood, cane
Jenis sarung	wood, cane
Tipe kepala	steel

Dao is the national sword of the Naga people of Assam and Nagaland, India. The sword, with its wooden hilt, and unique square form is used for digging as well as for killing.

Dao adalah senjata nasional dari orang Naga di Assam dan Nagaland di India. Dao memiliki fungsi yang beragam, mulai dari untuk berburu atau untuk memggali.

Form

Golok dao ditemukan di Assam dan Nagaland di timur laut India dimana orang-orang Naga tinggal. Dao memliki bentuk yang tebal dan berat, dengan panjabg bervariasi atara 45 hingga 65 centimeter. Bentuk dao unik karena ujungnya pedangnya melebar diujung dan mengecil di pangkal, sehingga bentuknya seperti kotak. Bentuk ini juga ditemukandi pedang dha, yang kemungkinan merupakan evolusi dari bentuk dha melalui kebudayaan Kachin di Burma.

Pedang dao berbentuk hampir lurus dengan lengkungan yang sangat tipis yang hanya dapat terlihat jika diobservasi lebih teliti. Pedang dao memiliki pinggir seperti dipahat. Bentuk uniknya adalah pedangnya menipis di pangkal dan melebar di ujung.

Pegangan dari dao terbuat dari kayu dan memiliki bentuk yang sangat sederhana, tanpa pelindung atau pangkal yang membesar. Akar bambu dianggap sebagai bahan baku paling baik untuk sebuah dao. Pegangan dao dililit dengan semacam anyaman untuk meyediakan pegangan yang kuat. Terkadang tutup perunggu ditempatkan dipangkal pegangan dao. Beberapa pegangan dao terbuat dari gading.

The dao broadsword can be found in the northeastern region of Assam and Nagaland in India where the Naga people lives. The dao has a thick and heavy form, with length varies between 45 sentimeter () to 65 sentimeter (). The unique design of this long backsword is that instead of a point, the tip of the sword is a bevel, creating an appearance of a squarish shape. This form is also found in the Burmese dha whose form is derived from the dao. The form of the dao was first adopted by the Kachin people who live along the Assam-Burma border and to the east, in the most mountainous regions of Upper Burma. From here the form would evolve to the more elongated dha.

The blade of the Dao is almost straight, with a very minimal curve that can only be discerned upon close examination. The blade is heavy and chisel-edged. It has a unique form that it is narrowest at the hilt and the gradually broaden to the endpoint.

The wooden hilt has a very simple shape, without a guard or without a distinguished pommel. Bamboo root is considered to be the best material for the hilt. The grip of the handle is sometimes wrapped with basketry. Sometimes the hilt is decorated with a bronze cap at the bottom. The hilt may also be made of ivory, and occasionally can be well-carved.

Dao is usually carried in an open-sided wooden scabbard which is fastened to a rattan belt hoop. The scabbard is centrally hollowed out on one face.

Multi-function

Dao mungkin merupakan satu-satu ya alat yang dipakai oleh orang Naga. Dao digunakan untuk bermacam-macam hal misalnya untuk membangun rumah, untuk menebang pohon, untuk menggali, untuk membuat anyaman, dwn untuk membuat perabot kayu. Dao juga digunakan sebagai senjata.

The dao is almost the only tool that was used by the Naga people. It is used for many purposes e.g. for building houses, to clear the forest, to dig the earth, to make the women's weaving tools, and to create any kind of wooden objects. The dao is also used as a weapon.

Cited works

• Burton, Richard F. (1987). The Book Of The Sword. London: Dover. ISBN 0-486-25434-8. 
• Greaves, Ian A.; Bowditch, Mark I.; Winston, Andrew Y. (2005). "THE SWORDS OF CONTINENTAL SOUTHEAST ASIA". Ars Cives Creativity. Ars Cives Creativity. Diakses tanggal November 15, 2017. 
• Jones, Lee A. (1999). "Sword-daos of the Hill Tribes of Assam and Nagaland (northeastern India) and of the Kachin Peoples (northern Burma (Myanmar))". Viking Sword. Viking Sword. Diakses tanggal November 15, 2017. 
• Stone, George Cameron (2013). A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times. Dover: Courier Corporation. ISBN 9780486131290. 
• van Zonneveld, Albert G. (2001). Traditional Weapons of the Indonesian Archipelago. C. Zwartenkot Art Books. ISBN 9789054500049.