Taikan Yokoyama’s first work of art that brought him fame is called Selflessness (see appendix A). He created this in 1897 and it is currently in the Tokyo National Museum. Selflessness is color on silk and measures 56 ¼ x 43 ¼ in. It shows a young boy at the waterside, wearing a wide-sleeved, oversized kimono in the Heian period (782-1185). Taikan studied the pattern and cut of the kimono for the Heian period. The willows were drawn using a traditional technique while the bright coloring and innocent features of the young boy showed Taikan’s originality. The skillful use of line and coloring in this painting was acquired when he studied his old masters’ works and made copies of them. Taikan chose the figure of a young boy standing to represent his ideal of Zen Buddhism, selflessness. He was awarded the Copper Medal in the second exhibition of the Japan Painting Society.
Another famous work painted by Taikan Yokoyama is called The Wheel of Life (see appendix B). Taikan drew this in 1923 and it is part of a private collection preserved in the Tokyo National Museum. The Wheel of Life is a “… monumental horizontal hand scroll, measuring almost forty meters in length. It is ink on silk and measures 21 ¾ x 1,521 in. It shows the flow of a river from its birth in the mountains to its emergence in the sea and ascent into the clouds to complete the cycle” (Miyagawa, 65). The river is used to portray both landscape scenes and the ups and downs of human life. Yokoyama had used imported Chinese ink for this piece of work. The intense, glossy tone of the Chinese ink suited the subject very well. With the ink, he used all the techniques he had ever learned about ink painting in this work of art.
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... style. The conservatives called his works using the “moro-tai” technique as “… desecrations of the Oriental Spirit” (Weatherby, 4). However, this did not stop Taikan Yokoyama from painting. Hence, his paintings became gentle and full of sentiment, showing greater depth of poetic insight than his earlier works of art. As his style changed, the public changed as well and admired his paintings.
VI. Conclusion
No other painter played such an important role in the development of modern Japanese art than Taikan Yokoyama. Taikan used a variety of styles and produced many significant works of art. He was constantly looking for new ways to develop and glorify the Japanese style. When Okakura Tenshin, the director of Tokyo School of Fine Arts, passed away, Taikan Yokoyama took over and continued to lead other artists in the development of a modern style of Japanese art.
Modris Eksteins presented a tour-de-force interpretation of the political, social and cultural climate of the early twentieth century. His sources were not merely the more traditional sources of the historian: political, military and economic accounts; rather, he drew from the rich, heady brew of art, music, dance, literature and philosophy as well. Eksteins examined ways in which life influenced, imitated, and even became art. Eksteins argues that life and art, as well as death, became so intermeshed as to be indistinguishable from one another.
The Buddha was and is an important figure in several different cultures, and his influence has spread over large areas. Across these different cultures, many forms of art portrayed him in different ways. In Japan, one of the Buddha’s titles stood out as the “Amida Buddha.” The statue that this paper will be detailing portrays “Amida, the Buddha of Infinite Light” (“Amida”). The statue is located in the Dayton Art Institute’s Japanese Art Gallery 105 with the acquisition number 1935.1. Created in the thirteenth century during the Kamakura period, this statue stands out in the Dayton Art Institute as a prominent Buddha figure. It is made of wood with lacquer and gilt, and it was built to be approximately the size of a normal person.
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
The Art Institute of Chicago houses a sculpture that epitomizes Shingon Buddhism in Japan. Born from an influence of Chinese esoteric Buddhism and the Indian God Shiva, the deity Fudo Myo-o, or “The Immovable One”, is one of the most important figures in Japanese Buddhism. The deity first appears in the Heian Period during the ninth century and is made to help followers of Buddhism with any adversity faced. During the Kamakura Period from the 12th-14th centuries the figure of this guardian king developed into a more realistic sculptural form. Fudo Myo-o is unique to the Shingon Buddhism of Japan with qualities that distinguish him from most any other deity, qualities that embody his vicious compassion, wisdom, and wrath.
David Cash Professor Yezbick World Masterpieces 2 4/29/2014 The Art of Survival In Art Spiegelman’s comic book, Maus, the reader begins to question and is left to determine if the true definition of survival is based on an act of will, simply mere chance, or dependent upon both. One of the main characters, Vladek, had physically survived the atrocities of the holocaust, but the lingering effect it had on his mental state disputes whether or not he truly survived. The second main character, Art, was forced to care for his father, that caused him mental anguish but his determination developed into a different type of survival.
26 The painting named The White Robed Kannon is an example of his use of the doshakuga tradition of imagery.27 While Kao and Mokuan were less versatile then Mincho, they still left excellent ink figure pantings that also used the doshakuga tradition of art. 28 When it comes to both Kao and Mokuan there is a confusion abou the identity of the painter using the Kao and Ninga seals, and it has been suggested that Kao was professional Buddhist painter affiliated Takuma School of Artists, but judging by the work bearing the seals Kao was not a trained
It is called Scenes of Hell Japan, Endo period (1603-1868). The mediums are ink, colors, and paper. It was located at the Newman Museum and was purchased in 1915. Now it is also in the Frist Museum of Visual arts. The specific artist in unknown but was found in Japan. This is a very large painting. Dimensions were not given in the museum. This painting is very dark it has demons blowing fire on dammed souls that were thrown in the fire of heaven. This painting has a lot in common with the installation called ClusterFuck. They both have a dark realism to them. They express death and the consequences of humans choices that they make in their own life. Along with that they do have differences. The installation had light, by that a sweet innocence to it that calmed the darkness down. The painting did not. Figures are distorted and evil looking. The painting had implied lined from the demons to the burning people. It also has more color to it then the installation. The installation had subjects that were just there but in the painting the subjects moved the viewers around the painting. Both were similar by the death aspect but the painting had more color, lines, and more of a story that goes with
The artist puts a lot of emphasis on color in the painting, and on space and texture of the canvas itself. He does this to bring the viewer into his world and express the emotion he is putting into words with paint. The painting is non-representational and is a part of the Abstract Expressionism movement. The artist particularly involved in the American Abstract Artists group. The concept of Abstract Expressionism was very popular at the time, and this artist was influenced by other Abstract Expressionist artists, such as Jackson Pollock and Helen Frankenthaler (University of Kentucky). This painting in particular says a lot about the innovative techniques Gilliam used and why is he world renowned.
Since the beginning of the semester, the main idea of the class has been to demonstrate how “life imitates art more than art imitates life” (Wilde 10). To shaping this idea, the first work read in class was the play, The Shape of Things, by Neil LaBute. From reading this play, the class was able to dive into the rest of our literary works having a clear understanding of how art can change us. From the idea presented, each student was able to come to a conclusion about how influential art was to our lives. Personally, before starting the class I did not believe art could influence life more than life could influence art, but after starting the class and almost completing it, I now have a different viewpoint on how influential art is to our daily lives. When deciding upon which two primary sources to use, I wanted to demonstrate how powerful art was in shaping who we could become. The Shape of Things and My Fair Lady seemed to be able to demonstrate my point the clearest. In both works, the main character changes identities due to the events that take place. While the outcomes can be established as either being positive or negative, the transformation of the characters is clear: both characters are largely impacted by the artful events happening surrounding them.
This is an image that I think of when I consider Japanese culture. They love gardens like this and you see similar images often when considering their culture. It is difficult to tell for sure, but the people in the distance appear to be dressed up. It is as though they have put on their best clothes to step out and enjoy this relaxing setting. I believe that this print is successful at capturing a moment in the mid 1800’s very well. It causes me to sense and experience what the artist was trying to capture. This print seems to conform to the formal theory of art. The print has only images of each object. None of them are particularly detailed or real to life but they do a very good job of organizing and describing the basic elements of the scene. It uses similar colors, shapes, and lines to those one might find in this garden in
"You're a human being, not an animal. You have the right to be loved" (262). "Son of the Revolution" by Liang Heng and Judith Shapiro was a book that showed how inhumane many of the aspects of Chinese life were during the Cultural Revolution. The book followed Liang Heng through many of his childhood memories to his departure from China in his twenties. The book applied a real face to the important movements during the Cultural Revolution, the effects that "the cult of Mao" had on society and Heng, and the way the period affected Heng's personal family life.
Thomas Cole was born on February 1, 1801 in Bolton, Lancashire, England. Due to financial problems his family endured, Cole, at the ripe old age of just fourteen, had to find work to assist with the family needs. He entered the work force as a textile printer and wood engraver in Philadelphia. In 1819, Cole returned to Ohio where his parents resided. Here, a portrait painter by the name of Stein, would become Cole’s primary teaching vehicle and inspiration for his oil techniques we’ve come to be familiar with. During this time, Cole was extremely impressed by what he saw in the landscapes of the New World and how different they were from the small town of England from whence he hailed. Self taught, art came naturally to Cole.
This is not surprising in view of the fact that Chinese culture values stability and continuity over change. This may be, in part, due to the continuous practice of imitating the ancients as a form of respecting antiquity and authority, a concept instilled by Confucianism (art and imitation). Another possible explanation for this could be that the anatomical or scientific approach was never emphasized in Chinese art, such as in Ancient Greek art. And because principles of light and shade, perspective and proportion of realism were not emphasized (the use of line is the defining technique in Chinese ink painting), there was never a “desperate revolt against vision” or a need for “non-objective art” (Tu). Thus throughout the years, Chinese painters were able to keep ahold of representational images as the basis for
Śaśibālā, , and Chandra Lokesh. Buddhist Art: In Praise of the Divine. New Delhi: Lustre Press, 2003. Print.
Art in Japan and art in the United States have their similarities and their differences, while also being viewed in different ways. Every work of art is unique in its own way. There are many different types of art, but each work of art has its own meaning. Depending on the eye of the beholder, a work of art can relate to you in many ways, and can be taken apart like a puzzle in your mind to understand the deeper aspect of it, while also deciphering its message. Others may not relate to the work, may only see the basic picture, and not understand the point or meaning of it. The same work of art can get opposite reactions, which shows that people have different ways of seeing the world that they live in.