A \\in his art Hokusai created stories and settings in great detail. This is evident through one of his most famous prints; under the wave of Kanagawa, 1823. This piece was a massive breakthrough in his career. the wave of Kanagawa was iconic and said to inspire those who created art later following the 19th century. The woodblock image tells of the reality in the lives of Japanese fisherman out at sea in harsh weather conditions. The casting of the giant wave in comparison to the men in boats on the waves and mount Fuji far in the distance contrasts the vulnerability to the wave of Kanagawa. The power of the wave makes it seem to have a rough yet balanced texture that creates mass damage in the harmony of nature. The art piece is a full visual
display that can be an interpretation of dominance as it implies that the wave is looking down and overshadowing, ready to was overall below it. Hokusai's use of line is very fluent. the sense of movement as repeated patterns of colours and shapes that the waves construct an illusion of the waves rocking back and forth. the repeated dark incised low horizontal lines on the carbonated peak of the waves, for emphasis,
...clouds above refer to traditional Japanese screen paintings and provide a softening side to the water. They create a balance symbolising hope and good luck. Four wind symbols are used as a devise to balance the composition – all are blowing air gently into the picture. The cartoon like face with its puffed out, red cheeks expelling air. All suggest a positive, natural energy.
Pages 30-31 “The two young men had little in…the art contrived by Honolulu and Yokohama masters.”
Lines are one of the fundamentals of all drawings. The lines in this drawing represent shape, form, structure, growth, depth, distance, movement and a range of emotions. In “Three Mile Island” Jacquette uses a mixture of horizontal lines to suggest distance and calm, through his use of thick and thin lines he shows delicacy and strength.
In 1857 Ando Hiroshige created a woodblock print titled Riverside Bamboo Market, Kyobashi representing a scene in Japan. The print is of a blue river, a bridge, and what looks like a mountain of bamboo. People are shown walking on the bridge as if they are entering the bamboo market. The colors in the artwork give off a calm feeling and the lines draw you into the details of the work. Calling the print Riverside Bamboo Market, Kyobashi, Ando Hiroshige presents the river as a market where people come to gain items to sustain focusing on the abundance of bamboo.
Over the course of Japanese history, arguably, no artist is more famous for their works than Katsushika Hokusai. During his 88 years of life, he produced over 30,000 pieces of artwork, and heavily influenced Western styles of art. His most famous piece was created around 1831, a Japanese styled piece titled, The Great Wave off Kanagawa. This piece has stood as a defining piece of artwork in the Japanese culture for over 180 years, analyzed by students and authors for the interpretations filling the paper. The relationship between Hokusai’s painting has directly affected the Western point of view of Japanese style. The English author, Herbert Read’s novel interprets the painting distinctly differently from a Japanese point, American poet,
Sei Shonagon. The Pillow Book. Trans. Richard Bowring. The Norton Anthology of World Masterpieces. Expanded Edition. Ed. Maynard Mack. New York: W.W. Norton & Co. 1995. 2191-2218. All quotations are from this text.
The first artwork I chose for the formal analysis project is The Tiger by Ito Jakuchù originally painted in 1755. This painting is of a tiger licking its paw in the grass underneath a tree branch. There seems to be two diagonal planes as the tiger is leaning forward and sitting erect. There is a horizontal plane from what appear to be branches above the tiger. The painting has asymmetrical balance as the elements are equally distributed to balance the top and the bottom of the space. The artwork demonstrates several types of line. There are curved lines used in the tiger’s stripes. There are also diagonal, vertical and horizontal lines used in the background for the grass and the overhanging tree branch. The curved and wavy lines used in the tiger’s body, for example in the shoulder muscles, imply movement in addition to the curve in the tiger’s tail. The color scheme used in this painting seems to be complementary to one another as the artist used orange and brown tones with blue and red-orange accents for the tiger’s eyes and tongue. Black is used throughout the p...
Both the Chuorinkan house and the Koganei house are in the To kyo suburbs and were designed at about the same time. Though they differ structurally and visually, they represent one approach to the problems they involve. The starting points of both are deliberate quotations and reorganizations of architectural compositional elements that can be called representative of the early modern period. I have used the same kind of design approach in other works. For example quotations from motifs used by Le Corbusier and Charles Rennie Mackintosh are found in the interior of PMT Building No. 1 (JA, September, 1978). Project W and PMT Building No. 2 entail reorganizations of elements from Le Corbusier's La Roche-Jeanneret House in Paris. And the facade of the Osaka PMT factory quotes the facade of Le Corbusier’s Villa Stein, at Garches. The aims behind quoting and reorganizing operations of this kind are (1) producing the effect of collages of heterogeneous elements and (2) visual ization of surface elements. Though the Chuorinkan house resembles PMT Building No. 1 in that its facade consists o...
After tossing paper symbols into the ocean to calm the wind and waves, the wind only grew stronger. However, after tossing in the master’s mirror, the God Sumiyoshi was pl...
Japanese culture is one of the most well appreciated yet, sometimes intriguing and difficult to understand in comparison to certain other cultures. The differences between men and women, different religious ideologies and many symbolic beliefs are characteristics that makes this a culture of world-wide study by many people from other parts of the world. Because of its complexity to understand and learn, Japanese culture not only reflects this major differences in the present day, but it follows the tradition of the ancient culture. In fact, the author of The Sound of Waves, Yukio Mishima enhances the habits of the right and unique ways of this old culture in his main characters and there, touches several important themes found throughout the book in relation to sexism. By the use of imagery, Mishima exposes the subtle sexism apparent on the island of Uta-Jima based on gender roles, stereotypes and religious ideologies to distinguish the role of men and women within Japanese culture.
In every direction the sea rages and growls, tumbling its inhabitants in an ever-lasting rumble. Glory, honor, and duty are washed upon the glimmering golden shores of the Japanese empire. The sturdy land-bearers clasp hands with those thrown into the savage arms of the ocean. This junction of disparate milieus forms the basis of an interlocking relationship that ties conflicting elements and motifs to paint a coherent, lucid final picture. In The Sailor Who Fell From Grace with the Sea, Mishima incorporates the impact of contradictory settings of land and sea, combative ideologies of the Western and Eastern hemispheres, and inherent dissimilarities amongst the characters’ lifestyles in order to reinforce the discrepancy between his ideal Japan and the country he observed.
This painting has deviated from the standard Renaissance model in that it goes beyond depicting subjects and scene, and employs exaggerated form, color emphasis, abnormal planar depiction, and visual directionality. The aspects of this painting have become the embodiment of the story told and the characters there held. The artist has used various techniques of color, line, and juxtaposition in order to portray an idea which supersedes the sum of its parts, and thereby leads the viewer through a thought.
from the famous "The Great Wave off of Kanagawa" picture, all the to manga and anime,
This piece was not necessarily a ordinary painting, it consisted mostly of nails that were nailed onto a canvas as a form of again, self expression. As mentioned in its description, “Rather than create an image with a brush and paint, Uecker aggressively and repeatedly attacked the canvas with a hammer and nails.” As indicated by the previous statement, we can conclude that the artist found himself in a affirmative stage and wanted to create something that felt realistic. Both Uecker and Tanaka expressed their realities and emotions throughout their abstract artwork pieces, which truly define modernism. As stated in Carol Duncan & Alan Wallach The Museum of Modern Art As Late Capitalist Ritual: An Iconographic Analysis*, “Like the church or temple of the past, the museum plays a unique ideological role. By means of its objects and all that surrounds them, the museum transforms ideology in the abstract into living belief.” Meaning that museums such as M.O.C.A play an important role for society not only because they give people access to some historical values, but also because it is all about culture individuality, subjective freedom, the freedom of diverse artists after the modern era. As stated by Carol Duncan and Alan Wallach, “In brief, that history records the increasing dematerialization and transcendence of mundane experience.” This conveys the that dematerialization of reality takes part with mundane experience in which the more abstract artworks are, the more it takes you into a transcendent stage. In contrast, J.A.N.M reveals society’s change by chronologically setting up cultural artifacts that focus more on Japanese societal
...better defined image. The linear clarity is made more visibly off-set by the warmth of color that radiates off the mountain top. The woman in prayer, although neatly defined with shadow, has an unclear expression that is reminiscent of the ukiyo-e style. What also reminds this writer of ukiyo-e, is the attention to impermanence in the position of the setting sun.