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=Kamisaka Sekka=
=Kamisaka Sekka=
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[[Image:Sekka1.jpg|thumb|right|Lukisan Sekka dari seri ''Dunia Bermacam Hal'', 1909–1910]]
[[File:Kamisaka Sekka, Аutumn Maple, late 19th.jpg|thumb]]
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{{nihongo|'''Kamisaka Sekka'''|神坂 雪佳|extra=1866–1942}} adalah seorang figur seniman berkebangsaan Jepang di awal abad ke-20. Kamisaka Sekka lahir di [[Kyoto]] kepada sebuah keluarga [[Samurai]]. Bakatnya dalam seni dan desain sudah mulai terlihat semenjak awal. Pada akhirnya, Kamisaka Sekka memutuskan untuk berguru di [[sekolah seni Rinpa]]. Kamisaka Sekka dikonsiderasikan sebagai salah satu figur artistik terakhir di Jepang.<ref name="Source1">{{cite book|last1=Birmingham Museum of Art |title=Birmingham Museum of Art: Guide to the Collection |publisher=GILES |year=2010 |location=London, UK |pages=50 |url=http://www.birminghammuseumstore.org/gutoco.html |accessdate=2011-06-09 |isbn=978-1-904832-77-5 |deadurl=yes |archiveurl=https://web.archive.org/web/20110910171202/http://www.birminghammuseumstore.org/gutoco.html |archivedate=2011-09-10 |df= }}</ref> Sekka juga menghasilkan beberapa karya pada kerajinan kayu pernis dan media-media lainnyaalso worked in lacquer and in a variety of other media.


==Deskripsi==
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{{nihongo|'''Kamisaka Sekka'''|神坂 雪佳|extra=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.<ref name="Source1">{{cite book|last1=Birmingham Museum of Art |title=Birmingham Museum of Art: Guide to the Collection |publisher=GILES |year=2010 |location=London, UK |pages=50 |url=http://www.birminghammuseumstore.org/gutoco.html |accessdate=2011-06-09 |isbn=978-1-904832-77-5 |deadurl=yes |archiveurl=https://web.archive.org/web/20110910171202/http://www.birminghammuseumstore.org/gutoco.html |archivedate=2011-09-10 |df= }}</ref> Sekka also worked in lacquer and in a variety of other media.
Ketika kesenian Jepang semakin lama semakin ketinggalan zaman (misalnya [[sekolah seni Rinpa|gaya Rinpa]], Jepang menerapkan sebuah kebijakan untuk mempromosikan gaya artistik unik di negara tersebut dengan cara meningkatkan status seniman tradisional yang menanamkan kerajinan mereka dengan sedikit pengaruh gaya [[modernisme]]. Pada tahun 1901, Sekka dikirim oleh Pemerintah Jepang ke [[Glasgow]]. Di Glasgow, Sekka sangat terinspirasi dengan gaya [[Art Nouveau]].<ref name="Source2">{{cite web | url = http://www.artic.edu/aic/exhibitions/exhibition/Sekka | title = A World of Things by Kamisaka Sekka | accessdate = 2011-06-09 | date = April 14 – July 1, 2007 | publisher = The Art Institute of Chicago}}</ref> Kamisaka Sekka berusaha untuk belajar lebih banyak tentang daya tarik Barat terhadap [[Japonisme]], dan elemen atau segi seni Jepang mana yang akan lebih menarik bagi dunia Barat. Kamisaka Sekka kembali ke Jepang dan mulai mengajar di sekolah-sekolah seni dan kerajinan di [[Kyoto]] yang baru dibuka. Kamisaka Sekka mencoba untuk bereksperimen dengan selera, gaya, dan metode barat, dan mencoba menginkorporasi hal tersebut kedalam karya-karya bergaya tradisional Jepang.<ref name="Source2"/> Walaupun ia berusaha untuk mengikuti subyek tradisional Jepang, dan beberapa elemen yang sesuai dengan tradisi [[sekolah seni Rinpa]], efek karyanya secara keseluruhan menunjukkan karakteristik yang sangat kebarat-baratan dan modern.


Kamisaka Sekka menggunakan warna-warna cerah dalam torehan yang besar. Gambar-gambarnya terlihat lebih seperti pola ketimbang sebagai subyeknya secara realistis. Efek dari pewarnaan dan pemolaan yang berani oleh Kamisaka Sekka membuat hasil karyanya seolah-olah keluar dari lukisannya, memberikan efek yang hampir memiliki kualitas tiga dimensi.<ref name="Source2"/>
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[[Image:Sekka1.jpg|thumb|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]].<ref name="Source2">{{cite web | url = http://www.artic.edu/aic/exhibitions/exhibition/Sekka | title = A World of Things by Kamisaka Sekka | accessdate = 2011-06-09 | date = April 14 – July 1, 2007 | publisher = The Art Institute of Chicago}}</ref> 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.<ref name="Source2"/> 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''==
==''Momoyagusa''==
[[Image:Momoyagusa1-Kamisaka Sekka-BMA.jpg|thumb|left|A woodblock print from Kamisaka Sekka's series ''Momoyagusa'']]
[[Image:Momoyagusa1-Kamisaka Sekka-BMA.jpg|thumb|left|Sebuah cetakan kayu dari seri ''Momoyagusa'' karya Kamisaka Sekka.]]
Karya Kamisaka Sekka yang berjudul ''Momoyagusa'' ("Dunia Bermacam Hal") dianggap sebagai karya agung Kamisaka Sekka pada kesenian cetak kayu. Set yang berisi tiga volume tersebut dikomisikan oleh firma Unsōdō di Tokyo antara tahun 1909 dan tahun 1910.<ref name="Source1"/> Nama Jepang dari seri tersebut pertama kali diteukan dalam sebuah teks puisi dari abad ke-18 yang berjudul ''[[Man'yōshū]]'' atau ''Koleksi Sepuluh Ribu Dedaunan'', yang
mengacu pada dedaunan musim gugur yang berwarna-warni (''momoyogusa''), dan terkadang beberapa bunga [[seruni]] dan artemisia yang mekar pada musim gugur.<ref name="Source2"/>
Momoyagusa (Dunia Hal) dianggap karya masterblok kayu Sekka. Set tiga jilid tersebut ditugaskan antara tahun 1909 dan 1910 oleh firma penerbitan Unsōdō of Kyoto. [1] Nama Jepang dari seri ini dapat ditemukan di teks puitis abad ke delapan Koleksi Ten Thousand Leaves (Man'yōshū), yang mengacu pada ramuan musim gugur multi-daun (momoyogusa), mungkin krisan atau apsintus. [2] Karya gambar enam puluh menampilkan berbagai lanskap, gambar, tema klasik, dan topik inovatif, yang ditangkap di tempat yang kecil. Mereka menunjukkan penguasaan penuh Sekka terhadap gaya tradisional Rimpa, serta menggabungkan pendekatan dan pemahamannya sendiri tentang inovasi yang mempengaruhi Jepang pada saat itu. [1]


''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.<ref name="Source1"/> 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.<ref name="Source2"/> 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.<ref name="Source1"/>
''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.<ref name="Source1"/> 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.<ref name="Source2"/> 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.<ref name="Source1"/>

Revisi per 30 November 2017 11.13

Kamisaka Sekka

Lukisan Sekka dari seri Dunia Bermacam Hal, 1909–1910

Kamisaka Sekka (神坂 雪佳, 1866–1942) adalah seorang figur seniman berkebangsaan Jepang di awal abad ke-20. Kamisaka Sekka lahir di Kyoto kepada sebuah keluarga Samurai. Bakatnya dalam seni dan desain sudah mulai terlihat semenjak awal. Pada akhirnya, Kamisaka Sekka memutuskan untuk berguru di sekolah seni Rinpa. Kamisaka Sekka dikonsiderasikan sebagai salah satu figur artistik terakhir di Jepang.[1] Sekka juga menghasilkan beberapa karya pada kerajinan kayu pernis dan media-media lainnyaalso worked in lacquer and in a variety of other media.

Deskripsi

Ketika kesenian Jepang semakin lama semakin ketinggalan zaman (misalnya gaya Rinpa, Jepang menerapkan sebuah kebijakan untuk mempromosikan gaya artistik unik di negara tersebut dengan cara meningkatkan status seniman tradisional yang menanamkan kerajinan mereka dengan sedikit pengaruh gaya modernisme. Pada tahun 1901, Sekka dikirim oleh Pemerintah Jepang ke Glasgow. Di Glasgow, Sekka sangat terinspirasi dengan gaya Art Nouveau.[2] Kamisaka Sekka berusaha untuk belajar lebih banyak tentang daya tarik Barat terhadap Japonisme, dan elemen atau segi seni Jepang mana yang akan lebih menarik bagi dunia Barat. Kamisaka Sekka kembali ke Jepang dan mulai mengajar di sekolah-sekolah seni dan kerajinan di Kyoto yang baru dibuka. Kamisaka Sekka mencoba untuk bereksperimen dengan selera, gaya, dan metode barat, dan mencoba menginkorporasi hal tersebut kedalam karya-karya bergaya tradisional Jepang.[2] Walaupun ia berusaha untuk mengikuti subyek tradisional Jepang, dan beberapa elemen yang sesuai dengan tradisi sekolah seni Rinpa, efek karyanya secara keseluruhan menunjukkan karakteristik yang sangat kebarat-baratan dan modern.

Kamisaka Sekka menggunakan warna-warna cerah dalam torehan yang besar. Gambar-gambarnya terlihat lebih seperti pola ketimbang sebagai subyeknya secara realistis. Efek dari pewarnaan dan pemolaan yang berani oleh Kamisaka Sekka membuat hasil karyanya seolah-olah keluar dari lukisannya, memberikan efek yang hampir memiliki kualitas tiga dimensi.[2]

Momoyagusa

Sebuah cetakan kayu dari seri Momoyagusa karya Kamisaka Sekka.

Karya Kamisaka Sekka yang berjudul Momoyagusa ("Dunia Bermacam Hal") dianggap sebagai karya agung Kamisaka Sekka pada kesenian cetak kayu. Set yang berisi tiga volume tersebut dikomisikan oleh firma Unsōdō di Tokyo antara tahun 1909 dan tahun 1910.[1] Nama Jepang dari seri tersebut pertama kali diteukan dalam sebuah teks puisi dari abad ke-18 yang berjudul Man'yōshū atau Koleksi Sepuluh Ribu Dedaunan, yang mengacu pada dedaunan musim gugur yang berwarna-warni (momoyogusa), dan terkadang beberapa bunga seruni dan artemisia yang mekar pada musim gugur.[2] Momoyagusa (Dunia Hal) dianggap karya masterblok kayu Sekka. Set tiga jilid tersebut ditugaskan antara tahun 1909 dan 1910 oleh firma penerbitan Unsōdō of Kyoto. [1] Nama Jepang dari seri ini dapat ditemukan di teks puitis abad ke delapan Koleksi Ten Thousand Leaves (Man'yōshū), yang mengacu pada ramuan musim gugur multi-daun (momoyogusa), mungkin krisan atau apsintus. [2] Karya gambar enam puluh menampilkan berbagai lanskap, gambar, tema klasik, dan topik inovatif, yang ditangkap di tempat yang kecil. Mereka menunjukkan penguasaan penuh Sekka terhadap gaya tradisional Rimpa, serta menggabungkan pendekatan dan pemahamannya sendiri tentang inovasi yang mempengaruhi Jepang pada saat itu. [1]

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.[1] 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.[2] 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.[1]

See also

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

References

  1. ^ a b c d Birmingham Museum of Art (2010). Birmingham Museum of Art: Guide to the Collection. London, UK: GILES. hlm. 50. ISBN 978-1-904832-77-5. Diarsipkan dari versi asli tanggal 2011-09-10. Diakses tanggal 2011-06-09. 
  2. ^ a b c d e "A World of Things by Kamisaka Sekka". The Art Institute of Chicago. April 14 – July 1, 2007. Diakses tanggal 2011-06-09. 
Wikimedia Commons memiliki media mengenai Kamisaka Sekka.

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.[1]

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.[2] 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.[3]

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.[4] Researchers have discovered much Buddhist art in caves of Mustang area which dates back to 12 century or earlier. [5] 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.[1] Newari painting style 'Beri' was famous in Tibet. Beri was adopted as Tibet’s universal painting style in the 14th century.[6]

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.[7] 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[8] 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.[9]

Juddha Kala Pathshala was the only institute[10] 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[11] 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

References

  1. ^ a b Brown, Kathryn Selig. "Nepalese Painting". The Metropolitan Museum of Art. Diakses tanggal 19 November 2017. 
  2. ^ Tej Bahadur Chitrakar icon of transition by Madan Chitrakar 2004
  3. ^ http://www.nhm.ac.uk/nature-online/art-nature-imaging/collections/art-themes/india/more/owl_more_info.htm
  4. ^ Mathew, Soumya. "Madhubani art: Why painting is integral to women's existence". Indianexpress.com. Diakses tanggal 19 November 2017. 
  5. ^ Mehta, Aalok (May 7, 2007). "Photo in the News: "Stunning" Buddha Art Found in Nepal Cliff". Nationalgeographic.com. Diakses tanggal 19 November 2017. 
  6. ^ Jackson, David. "THE NEPALESE LEGACY IN TIBETAN PAINTING". rubinmuseum.org. Diakses tanggal 19 November 2017. 
  7. ^ Tej Bahadur Chitrakar icon of transition by Mkadan Chitrakar 2004
  8. ^ Images of a Lifetime--: A Historical Perspective, 20th November-5th December 2005, Siddhartha Art Gallery, 2005
  9. ^ Lain Singh Bangdel
  10. ^ http://artnepal.net/lalitkala
  11. ^ http://nepalitimes.com/news.php?id=1891
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