代写范文

留学资讯

写作技巧

论文代写专题

服务承诺

资金托管
原创保证
实力保障
24小时客服
使命必达

51Due提供Essay,Paper,Report,Assignment等学科作业的代写与辅导,同时涵盖Personal Statement,转学申请等留学文书代写。

51Due将让你达成学业目标
51Due将让你达成学业目标
51Due将让你达成学业目标
51Due将让你达成学业目标

私人订制你的未来职场 世界名企,高端行业岗位等 在新的起点上实现更高水平的发展

积累工作经验
多元化文化交流
专业实操技能
建立人际资源圈

Tomioka Tessai Exhibition: Ink and Light Colors Scroll

2020-04-16 来源: 51Due教员组 类别: Paper范文

下面为大家整理一篇优秀的paper代写范文Tomioka Tessai Exhibition: Ink and Light Colors Scroll ,供大家参考学习。这篇论文讨论了这个新展览的核心艺术家是富冈Tom富冈(1847-1924),他是日本现代文人绘画大师,书法家和学者。他出生于一个商人家庭,听力不佳促使他的家人将他推向学术生涯,而不是从事商业生涯。他的家人所招募的儒家学校对他进行了中日两国古典文学的教育,以及大量接触佛教。特赛(Tessai)致力于王阳明的新儒学理论,并花了很多时间研究年轻的绘画。他深受中国文化和艺术的影响。他毕生崇拜苏东坡,他是中国最伟大的古典诗人和与他有关的绘画之一。

 

 

 

Tomioka Tessai Exhibition: Ink and Light Colors Scroll

Section 1 Overview

The artist at the center of this new exhibition is Tomioka Tessai 富岡鉄斎 (1837-1924), a modern Japanese literati painting master, calligrapher, and scholar. He was born into a merchant family, and his poor hearing encouraged his family to push him into a scholarly career rather than a mercantile one, and the Confucian school that his family enrolled him in gave him an education in classical Chinese and Japanese literature, as well as a great deal of exposure to Buddhism. Tessai devoted himself to Wang Yangming’s theories of Neo-Confucianism and spent a lot of time studying painting from a young age. He was affected by Chinese culture and art very much. He had a lifetime worship of Su Dongpo, one of China’s greatest classic poets and paintings related to him. At the same time, he had relationships with Chinese literati including Luo Zhenyu and Wang Guowei and exchanged letters and notes discussing calligraphy and painting methods with Wu Changshuo. His paintings covered themes of Confucianism, Buddhism, and Shintoism, particularly focusing on depictions of classical Chinese poetry. His works represent a masterful Japanese interpretation of Chinese artistic traditions and social values and of a variety of depictions of Japan’s rich geography and natural environment

The Japanese nanga, or literati painting, was a style that spread from China to Nagasaki during the Qing Dynasty, around the 17th century. The light colors and smooth contours of this style caused it to quickly spread through Japan’s artistic community and in society at large. As a result, imported Chinese prints and books of paintings attracted a wide variety of top national artists who reflected on these paintings and expressed them in their own way, forming an independent style of Japanese literati paintings, based on a direct and honest observation of nature and a strong element of natural randomness or organic chaos and complexity. Japanese literati paintings continued to develop until the end of the 19th century, and eventually the movement dried up due to stylistic limitations to be replaced by the more nativist forms it was evolving towards, and many of Tessai’s later works are considered pioneering towards the latter movement.

Tessai’s paintings represent a fusion of Japanese ink painting and Chinese Ming and Qing literati painting into a concrete holistic form and style. He was an extremely prolific painter, with an approximate 20,000 works in total. He painted scrolls, screens, books, fans, and other materials, mostly depicting scenes and images from the classical literature and legends of Japan and China. They are famous for their grand composition and bold brushwork. The expert use of monochrome or color freehand drawing expresses a strong sense of vitality, without any trace of Western perspective, style, or influence.

Among Tessai’s eight objects which found in the MOA collections, only four have available images, and these include two scroll paintings, one regular painting, and a screen. This exhibition aims to introduce Tessai’s literati paintings to the MOA community and to seek out some of the distinctive and unifying themes of Tessai’s works and of the naturalism and spirituality that can be found there, as well as exploring his defined East Asian aesthetic.


Section 2 Exhibition Rationale

In keeping with the purpose of focusing on the themes and styles of East Asian art, this exhibition chose the light-colored scroll of the man in the gourd from Tessai’s mid-late period as its main exhibit.

This pale and whimsical scroll relies on both the techniques and art forms of brush painting and calligraphy. Tessai’s figures and shapes are very general, somewhat indistinct and vague, reflecting the indistinct boundaries one finds in nature and in Asian philosophy. The calligraphic captions cover topics such as Buddhism, Daoist myth and magic, the literati, the life of farmers, and Chinese and Japanese culture. The warm and faded colors display a sense of humor and charm that reflects not only a naturalistic and expressive interpretation of their cultural sources, but also a casualness and gentleness that arose from the fertile soil of Japan’s national arts. The painting shows a high degree of dimensionality and fantasy in its perspectives, yet a strongly realistic depiction of its natural elements and of the core themes of freedom and peace in human nature in its faded and curving lines. The exhibition will examine and emphasize these values, in at least a deep a way as it examines his use of brushstroke and physical technique

Tessai regards painting as a kind of biological process, with no obstacles, no right angles or hard geometries, just natural flow and a general and pleasing set of proportions and curves. Tessai screen often have an a general appearance of appearing “crazy, odd, clumsy, and ugly,” and the general criticism that literati paintings are fundamentally stylistically limited and are a derivative genre is hard to defend against. And yet these works show a fineness, an organic and very human expression of the combined literary traditions of two countries from a millennia past. They are a sharing of the heart, a confessed fantasy of the soul, a dream sketched in warm, sepia colors. It is important for the exhibition to emphasize how these paintings were created—most of Tessai’s paintings are vertical axis paintings, applied to a long piece of paper with vertical feet, top-down on their own line, helping them keep flush and organic lines beyond the boundaries of the page itself.

The accessibility of Tessai’s works as well as their complexity is precisely what makes them an excellent choice for the hosting of this exhibition. It will focus on the naturally expressive qualities of Tessai’s works, as well as on his spiritualism, his connection to Chinese and Japanese literary  traditions, and his own background.

Tessai has caught the attention of the world's artists, and has been named one of the top literati painting masters. Tessai’s era, particularly towards the end of his life, was the era where western culture was becoming the mainstream, even in Japan, and saw era of literati decline. His style, work, and themes are greatly distant from popular trends and noisy people, reflecting only the richest and most consistent elements of oriental culture. Under the influence of Buddhism, Confucianism and Taoism, he inherited and developed these artistic traditions and carried them forward towards a truly original and new national style. However, in his own lifetime, the straightforward and colorful language ever-present on Tessai’s work meant that he lives much of his life behind him. He is known as "the last master" of Japanese modern literati painting, and his works should be shared with a wider bell.

 

 


Section 3 Display Planning

Location: Multiversity Galleries

Example:

 

 

Tomioka Tessai, Scroll Painting (Before 1925), 191 cm x 49 cm

 

Highlights: Later year’s Fukuoka iron vegetarian into "transcendental" than the state of transit. In particular, Tiesai after 80 years of work is even more stubborn and spicy, Cang show both, vertical and vertical fun and interesting. Its gesture swirling reciprocating, the whole picture has a feeling of one go, the pen or lying or standing, or flat or turn, fast or slow, natural and powerful. It should be emphatically pointed out that the character of Tiezhai's painting has a lot to do with his calligraphy for boldness and ancient taste. His calligraphy pen strong, through the back of paper, between the lines of both the study all the way elegant and vigorous, but also full of gold tablet Edition majestic simplicity. Within the strokes and accessibility, full of a kind of perseverance and simplicity of nature and innocent power, revealing the unique charm of personality, under the unforgettable items.

Display: the exhibition opens with the screen of the four gentlemen walking amongst plants. The larger video screen plays the role of a guide and will lead the viewers the direction to the main content of the show. The focus would be different scroll paintings of light colors and ink, which shows a thick atmosphere of Japanese and East Asian culture and spirit. The exhibit then ends with the Peng Lai, also with a strong color. The purpose is to provide chances for the viewers to enjoy different set of Tassai’s works in a small space, in order to maximize exposure to details and artistic techniques. The scroll paintings will be displayed in the order of creation years to show the changes in philosophy and style that the artist underwent.


Section 4 Wall Text Sample

Japanese literati paintings (nanga) were imported as a style from China around the 1600s, and attracted a large group of artists, sinologists, and cultural philosophers to consume them and produce their own. The fresh feeling of this style aroused widespread attention and dissemination among the Japanese painting community. In a short period of time, this new style of Japanese painting was created though the forthright observation and interpretation of nature, as well as an apparently random application of more advanced foreign painting techniques and technologies. The apparently random yet organic and warm portrayal of line and color techniques resulted in a poignant and poignant style. Japanese literati paintings continued to develop until the end of the 19th century, and eventually dried up due to their stylized limitations. Tomi Takeda is known as the last scholar and painter of the movement, and his unique and influential smile break many hearts.

Tessai’s innovative advances and contribution to the artistic creation and development all seem to stand on the country’s oriental cultural standpoint. However, what is surprising is that Western modern art has many similarities with Tessai’s work. European and American critics have mentioned Tessai in the same artistic context as Van Gogh and Cezanne, as classical artists who represent the beginning of the modern era. This sense of modernity, whether it we are talking about a western or eastern cultural contexts, can be best epressed, understood, and discussed when it is reduced to its philosophical essence and components.

The exhibition has collected a small number of paintings by Tomioka Tessai, beginning with a strong emphasis on content, followed by the subtext and other cultural contextual information, which will be presented in a more casual and compartmentalized fashion to emphasize the natural networks and lack of force or defined structure in Tessai’s works. The exhibition demonstrates some of Tessai’s various painting techniques and the spiritual connotation of his work in an East Asian context. Small exhibitions of calligraphy works also help highlight the diversity and development of Tessai’s repertoire.

 


Section 5 Reference images and bibliographic sources

UBC Museum of Anthropology http://moa.ubc.ca/

Museum View http://www.googleartproject.com/ 

Museum of Anthropology. Tour of MOA's Multiversity Galleries (MOA: Museum of

Anthropology. Published on Nov 17, 2010. https://www.youtube.com/watch?v=_QMsDAT6nKM

Seattle Asian Art Museum http://www.seattleartmuseum.org/visit/asian-art-museum

Tomioka Tessai. https://www.britannica.com/biography/Tomioka-Tessai

Tomioka Tessai. 

https://www.metmuseum.org/pubs/bulletins/1/pdf/3257735.pdf.bannered.pdf

 

 

Tomioka Tessai, Screen (before 1925)

 

 

 

Tomioka Tessai, Scroll painting (before 1925)

 

 

 

 

 

 

 

 

Tomioka Tessai, Scroll painting (before 1925)

 

Tomioka Tessai, Visiting a Friend on a Wooded Cliff (1750-55)

 

 

 

 

 

 

Tomioka Tessai, Su’s embankment on a spring morning (1867)

 

 

 

Tomioka Tessai, Mt.Penglai (Mountain of Immortals) (1924)

 

51due留学教育原创版权郑重声明:原创paper代写范文源自编辑创作,未经官方许可,网站谢绝转载。对于侵权行为,未经同意的情况下,51Due有权追究法律责任。主要业务有essay代写、assignment代写、paper代写服务。

51due为留学生提供最好的paper代写服务,亲们可以进入主页了解和获取更多paper代写范文 提供作业代写服务,详情可以咨询我们的客服QQ800020041

 

上一篇:An Investigation of Gastronomi 下一篇:A Discussion of Women’s Status