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Ogata Kenzan

Kotak tembikar perangkat menulis karya 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 lahir di Kyoto kepada sebuah keluarga pedagang kaya. Dia adalah anak dari keluarga Kariganeya. 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 Kyoto. Ogata Kenzan adalah salah satu pengrajin tembikar terbesar di era Tokugawa. Pada tahun 1713, Ogata Kenzan pindah ke Edo dimana dia juga menghabiskan sisa hidupnya.

Ciri khas dari lukisan Ogata Kenzan adalah figur-figur yang terinspirasi dari alam seperti rerumputan, bunga dan burung-burung yang ditorehkan dengan menggunakan kuas secara bebas pada permukaan kerajinan tembikarnya. Karya-karyanya dikenal karena adanya relasi yang sempurna antara wujud objeknya dengan desain yang ia gambarkan kepada objek tersebut. Ogata Kenzan sering berkolaborasi dalam dekorasi tembikar dengan kakaknya, Ogata Kōrin, yang kemudian dikenal sebagai nama Rinpa.

Gaya

Netsuke tembikar yang dibentuk seperti bunga seruni.

Ogata Kenzan bekerja dengan keramik dengan mengembangkan teknik pada pembuatan tembikar tersebut. Selama 40 tahun bekerja, ia menciptakan gayanya sendiri dalam keramik. Gambar-gambar yang dilukiskan pada kerajinannya biasanya terinspirasi dari elemen-elemen alami seperti rumput, bunga, atau burung, dan terkadang gambar-gambar yang dia ambil dari puisi yang terinspirasi dari motif klasik lukisan-lukisan di Cina dan Jepang. Pada awal karirnya, di Narutaki, ia sering membuat objek-objek berbentuk persegi dan melukiskan lukisannya pada objek tembikar tersebut seolah-olah objek tersebut merupakan sebuah gulungan gantung. Dalam hal ini, Kenzan tidak melukiskan sebuah gambar kepada sebuah objek, namun membuat lukisan itu sendiri sebagai bagian dari barang tembikarnya.

Sejak tahun 1712, setelah keberangkatannya dari Narutaki ke Kyoto bagian tengah, Kenzan mulai membuat banyak objek yang berhubungan dengan makanan, terutama untuk kaiseki dan upacara teh. Hal ini disebabkan oleh trend yang mana barang keramik yang mengandung seni mulai diproduksi secara massal. Salah satu Kenzan dalam memproduksi barang-barang tembikar ini adalah kemampuan dia untuk membuat desain-desain yang baru dan segar, yang kebanyakan didasarkan dari konsep yang dibuat oleh kakak Ogata Kenzan, Ogata Korin. Terkadang Kenzan menggunakan gambar yang dilukis oleh Ogata Korin. Pada periode ini, Kenzan sering menggunakan warna-warna terang pada objek tembikarnya.

Selain tembikar Ogata Kenzan pun juga melukis. Sebagian besar lukisannya ia ciptakan selama lima tahun terakhir hidupnya.

Lihat juga

Media tentang Rochelimit/Sandbox di Wikimedia Commons

Pranala luar

• 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