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Ogata Kenzan

Ogata Kenzan (尾形 乾山code: ja is deprecated , 1663–1743), sebelumnya Ogata Shinsei (尾形 深省code: ja is deprecated ), juga dikenal dengan nama penanya Shisui, adalah seorang seniman barang tembikar dan seorang pelukis berkebangsaan Jepang.

Biografi

Ogata Kenzan was born in Kyoto into a rich merchant family. His older brother was the painter Ogata Kōrin (1658–1716). Kenzan studied with the potter Nonomura Ninsei and made his own kiln. In 1712 a nobleman began patronizing his kiln, he moved to the east area of Kyoto. He was one of the greatest ceramicists of the Tokugawa era. In 1713, he moved to Edo where he also spent the rest of his life.

Ogata Kenzan produced a distinctive style of freely brushed grasses, blossoms, and birds as decorative motifs for pottery. His pieces were noted for their perfect relation between design and shape. He often collaborated on the decoration of pottery with his older brother, Ogata Kōrin, after whom the style known as Rinpa was named.

Bernard Leach, the British studio potter, wrote a book about Ogata Kenzan in 1966 entitled Kenzan and his Tradition, published by Faber & Faber in London.

Ogata Kenzan lahir di Kyoto kepada sebuah keluarga pedagang kaya. Kakaknya adalah Ogata Kōrin (1658-1716), salah satu pelukis ternama Jepang. Kenzan belajar kerajinan tembikar bersama pengrajin tembikar Nonomura Ninsei dan dari dia, dia terinspirasi untuk sebuah tempat pembakaran miliknya sendiri. Pada tahun 1712 seorang bangsawan mulai membiayai beberapa tempat pembakaran tembikarnya, sehingga ia pun berpindah ke sisi timur area Kyoto. Dia adalah salah satu keramik keramik terbesar di era Tokugawa. Pada tahun 1713, dia pindah ke Edo dimana dia juga menghabiskan sisa hidupnya.

Ogata Kenzan menghasilkan gaya khas dari rumput, bunga, dan burung yang disikat dengan bebas, sebagai hiasan motif tembikar. Potongan-potongannya dicatat untuk hubungan sempurna antara desain dan bentuk. Dia sering berkolaborasi dalam dekorasi tembikar dengan kakaknya, Ogata Kōrin, yang kemudian dikenal sebagai nama Rinpa.

Bernard Leach, pembuat potret Inggris, menulis sebuah buku tentang Ogata Kenzan pada tahun 1966 berjudul Kenzan dan Tradisi yang diterbitkan oleh Faber & Faber di London.

Gaya Ogata Kenzan bekerja dengan keramik pada teknologi kanker, arus dan jiks (porselen) [1]. Selama 40 tahun bekerja, ia menciptakan gayanya sendiri dalam keramik. Seperti gambar pada karya-karyanya muncul rumput dekoratif, bunga dan burung, gambar dari puisi - kebanyakan motif klasik lukisan China dan Jepang [1] [3]. Pada awal karirnya, di Narutaki, ia sering membuat masakan persegi yang mengingatkan pada format dan bidang gulungan yang dilukis oleh para pelukis, juga peti mati dengan tutup yang dilukis baik di luar maupun di dalam [2]. Ogata Kenzan tidak menghias produk keramik dengan corak, namun ia membuat gambar berupa keramik, yang secara diametral membalik cara ceramis berpikir dan melihat pada produksi keramik [2]. Produk keramik monokrom Kendzana, sering dengan kaligrafi atau puitis, menyerupai lukisan guohua China [2] [3].

Sejak 1712, setelah keberangkatan dari Ottaki, Ogata, Kenzan mulai memproduksi lebih banyak produk yang ditujukan untuk makanan, khususnya untuk upacara kaiseki dan teh [2]. Hal ini disebabkan oleh fakta bahwa keramik dari seni masuk ke produksi massal, dan perlu menghasilkan apa yang diminati [2]. Kemudian disederhanakan disain produk yang mendukung jumlah produk yang dihasilkan [3]. Keramik Kenzan pada periode ini dibedakan dengan pendekatan yang tidak biasa pada piring dan gambar yang terang. Pada saat membuat gambar pada produk keramik, ia sering berkolaborasi dengan kakaknya Ogata Korin [2].

Selain tembikar Ogata Kenzan pun ikut melukis. Sebagian besar lukisannya ia ciptakan selama lima tahun terakhir hidupnya [1]. Google Translate for Business:Translator ToolkitWebsite Translator

Gaya

Ogata Kenzan worked with ceramics on the technology of cancer , currents and jiks ( porcelain ) [1] . For 40 years of work, he created his own style in ceramics. As pictures on his works appeared decorative grasses, flowers and birds , images from poems - mostly classical motifs of painting of China and Japan [1] [3] . At the beginning of his career, in Narutaki, he often made square dishes reminiscent of the format and planes of the scrolls on which the painters worked, as well as caskets with a lid painted both outside and inside [2]. Ogata Kenzan did not decorate the ceramic product with a pattern, but he made a picture in the form of ceramics, which diametrically inverts the way the ceramist thinks and looks at the production of ceramics [2] . Kendzana's monochrome ceramic products, often with calligraphy or poetic lines, resembled Chinese guohua painting [2] [3] .

Since 1712, after the departure from Ottaki, Ogata, Kenzan began to produce more products intended for food, in particular, for kaiseki and tea ceremony [2] . This is due to the fact that ceramics from art went into mass production, and it was necessary to produce what was in demand [2] . Then he simplified the design of products in favor of the number of products produced [3] . Ceramics of Kenzan in this period was distinguished by an unusual approach to dishes and bright drawings. At the time when creating images on ceramic products, he often collaborated with his older brother Ogata Korin [2] .

In addition to pottery Ogata Kenzan was engaged in painting. Most of his paintings he created during the last five years of his life [1] .

Gallery

Selected works by Ogata Kenzan

• 
  Five small glazed pottery bowls
• 
  Hanging scroll; ink, color, and gold on paper painting of evening glories
• 
  Netsuke depicting chrysanthemums

External links

Media tentang Rochelimit/Sandbox di Wikimedia Commons

• 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 Ogata Kenzan (see index)
• Pottery works by Ogata Kenzan
• Bowl with bamboo leaf design at Kimball Art Museum

Kamisaka Sekka

Kamisaka Sekka (神坂 雪佳code: ja is deprecated , 1866–1942) was an important artistic figure in early twentieth-century Japan. Born in Kyoto to a Samurai family, his talents for art and design were recognized early. He eventually allied himself with the traditional Rinpa school of art. He is considered the last great proponent of this artistic tradition. Sekka also worked in lacquer and in a variety of other media.

From the series A World of Things, 1909–1910

As traditional Japanese styles became unfashionable (such as Rimpa style), Japan implemented policies to promote the country's unique artistic style by upgrading the status of traditional artists who infused their craft with a dose of modernism. In 1901, Sekka was sent by the Japanese government to Glasgow where he was heavily influenced by Art Nouveau. He sought to learn more about the Western attraction to Japonism, and which elements or facets of Japanese art would be more attractive to the West. Returning to Japan, he taught at the newly opened Kyoto Municipal School of Arts and Crafts, experimented with Western tastes, styles, and methods, and incorporated them into his otherwise traditional Japanese-style works. While he sticks to traditional Japanese subject matter, and some elements of Rimpa painting, the overall effect is very Western and modern. He uses bright colors in large swaths, his images seeming on the verge of being patterns rather than proper pictures of a subject; the colors and patterns seem almost to "pop", giving the paintings an almost three-dimensional quality.

Momoyagusa

A woodblock print from Kamisaka Sekka's series Momoyagusa

Momoyagusa (A World of Things) is considered Sekka's woodblock-print masterpiece. The three-volume set was commissioned between 1909 and 1910 by the publishing firm Unsōdō of Kyoto. The Japanese name of the series can first be found in the eighth-century poetic text Collection of Ten Thousand Leaves (Man'yōshū), which refers to a multi-leaved autumnal herb (momoyogusa), possibly a chrysanthemum or wormwood. The sixty image work displays a variety of landscapes, figures, classical themes, and innovative subjects, captured in a small space. They show Sekka's complete mastery of traditional Rimpa style, as well as combining his own approach and understanding of the innovations influencing Japan at the time.

See also

The pamphlet of the exhibition of Kamisaka(2007.9.22)(pdf)

External links

• Sekka's Harunotamo (Fields in Spring) at the Birmingham Museum of Art
• Sekka's Hotei (One of the Seven Gods of Good Fortune) at the Birmingham Museum of Art
• 'Birds, flowers and figures on scattered fans' [1] Collection of the Art Gallery of New South Wales.

Seni lukis Nepal

Mandala of Chandra, God of the Moon, A late 14th–early 15th-century painting

Nepalese Painting marks the beginning with the religious paintings of Hindu and Buddhist culture. Those traditional paintings can be found in the form of either wall paintings, cloth paintings or manuscripts. They used conservative technique, style, and iconography in their works for centuries.

Nepalese paintings believed to have embraced western influences after 1850 with a work of Bhajuman [Chitrakar], a traditional artist who became acquainted with western Realism after visiting Europe. Bhajuman, also known as Bhajumacha Chitrakar, was a court painter of Jung Bahadur Rana, who visited Europe in 1850 after becoming Prime Minister of Nepal. As a member of the new Prime Minister's entourage, Bhajuman also visited Paris and London. Soon after the return, western Realism supposedly influenced Bhajuman's paintings, marking the start of modern trend. An unsigned painting - supposedly to have painted by Bhajuman - depicts a Thapa General in a full military regalia. This painting remained a pivotal example of considerable departure from an established traditional school of Nepali painting to western school of art practice. However, the recent discovery of the illustrations by Raj Man Singh Chitrakar (1797-1865) for his patron a British Resident Brian Houghton Hodgson, sheds light on the western Realism entering Nepal way before the influences brought in by Bhajuman Chitrakar.

7th to 19th century paintings of Nepal

Kesh Chandra (A mythical character in the folklore in Kathmandu) and his sister; A picture dated 1223 AD

Mithila Painting is practiced in the Mithila region of Nepal and India. This tradition dates back to the 7th century AD. Mithila painting is done with twigs, fingers, natural dyes and pigments. Artists make pictures of natural objects like sun, moon, and deities from mythological epics, royal courts, and weddings. Researchers have discovered much Buddhist art in caves of Mustang area which dates back to 12 century or earlier. Style, technique, materials and subject of painting differed with the ethnic origin of the artists. Artists from the Newar community made most of the paintings that illuminated Buddhist manuscripts and book covers as well as devotional paintings on cloth. Newari artists were renowned throughout Asia for the high quality of their workmanship. Newari painting style 'Beri' was famous in Tibet. Beri was adopted as Tibet’s universal painting style in the 14th century.

Nepalese Painting 1900-1950

The remarkable entry of the western school of art practice is noticed in Nepali painting only after the return of two young artists Tej Bahadur Chitrakar 1898-1971 and Chandra Man Singh Maskey in late 1920s. They both joined Government School of Art in Calcutta to learn to paint by observing life and nature-concept of tonal effects, colors and the most important - the application and the use of modern paint mediums like oil, water, charcoal, pastel etc. Very few works of Chandra Man Singh Maskey are accessible to the public. However with the publication of the book Tej Bahadur Chitrakar - icon of transition written by his heir Madan Chitrakar in 2004 and a grand post-humous retrospective of Tej Bahadur Chitrakar "Images of a Lifetime--: A Historical Perspective" organised by Siddhartha Art Gallery in 2005 have emphasised on his contribution for the development of Nepali painting. Tej Bahadur Chitrakar played an important role practising in both traditional Nepali art as well as western ways of painting. Simultaneously he is also fondly remembered as a dedicated teacher who shared his knowledge to many aspiring artists of his time. Under the tutelage of Tej Bahadur, Dil Bahadur Chitrakar versed himself in various paint mediums especially pastel techniques whilst Amar Chitrakar became an expert in water color and oil and became one of the beloved Nepali artists.

Nepalese Painting 1950-1990

The arrival of Lain Singh Bangdel (1919–2002) in 1961 marks as an introduction to Modern Art in Nepal. He brought with him, the exposure to Modern art movements from Paris to a country which was slowly opening to the world only after 1950s. With the patronage of King Mahendra, Lain Singh Bangdel introduced abstract art to the Nepali audience. In 1972 he was appointed as an academician of Royal Nepal Academy by King Birendra.

Juddha Kala Pathshala was the only institute where art was taught formally during those days. Many of the young enthusiasts opted India to study art under various scholarship programs. After the return of young artists such as Uttam Nepali, Manuj Babu Mishra, Shashi Bikram Shah, Batsa Gopal Baidhya, Krishna Manandhar, Rama Nanda Joshi, Thakur Prasad Mainali, Deepak Shimkhada, Sushma Shimkhada, Pramila Giri, Indra Pradhan, Karna Narsingh Rana, Shashi Kala Tiwari, Nepali art flourished into a collective modern phase. Artists like Kiran Manandhar, Karna Maskey, Ragini Upadhyay, Uma Shankar Shah, Pramesh Adhikari, Yuwak Tuladhar, K.K. Karmacharya, Birendra Pratap Singh, Surendra Bhattarai, Sharad Ranjit succeeded as a young and vibrant generation during 1980s. K.K.Karmacharya had more worked to stretch out as new technique, collage and assemblage cf popular in Europe, in Nepal. Durga Baral practising in isolation in his home town Pokhara came as a surprise with his first solo exhibition in 1983 "Chowk ra Tamsuk". Though a self practised artist, his mastery in skill and execution surpassed many of his contemporaries. Karna Maskey passed away on September 14, 2016