Amongst the season of intense heat waves, hanabi festivals and beach parties, it is almost natural for us local Tokyoites to look for a place to cool down from the energetic summer hype. Composed of minimal representation of balance, meditation and stillness, Isao Sugiyama “Santuario” exhibition at Tokyo Gallery can be that sanctuary. An experience that do not only calms the body and the mind, the exhibition also at the same time portrays a less-seen style of art in the current trend: art devoid of shock value that emphasize on the calmness of senses rather than provocation.
Sugiyama’s influences are both from his European style sculptural background and his Japanese root that drives his aesthetic sense of simplicity and stillness. Graduated in 1977 from the sculpture department at Zokei University, he continued his education at the Academy of Fine Arts in Carrera, Italy. While living and working in Milan and Carrera, Sugiyama exhibited both in solo and group exhibitions mainly in European countries. “Santuario” marks Sugiyama’s solo exhibition in Tokyo first time in 20 years.
Sugiyama’s sculptures somewhat closely resemble Greece’s famous Meteora Monasteries in miniature, with a sprinkle of Asian twists. Standing on representational cliffs, the house-like structures, while seems neutral in marble, can also be closely identified with modern Japanese architectural aesthetics when done in wood, especially in their style of organized simplicity. The carved lines on the base marble in many of the sculptures also most likely aim to recreate Sugiyama’s own version of Japanese stone gardens, which besides being aesthetically representational in its revolving circular style, also reenforce similar ideas of meditation and stillness...
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...ill an essential part of staying alive. The theme is straight-forwardly portrayed by the contrast of processed house-like sculptures, though isolated, still represent influences by civilization, against the unprocessed marble that represent nature, devoid of any civilize touch.
The exhibition is filled with a sense of peace and stillness; a result of a clear combination of soft lighting that showers the whole room, a sense of vast space due to the minute size of the little sculptural houses, the sculptural relationships between the aesthetic of marbles and wood and religious references that provide us with mental calmness. With the absolute sense of peace intensely muting all other activities once inside the small gallery space, Sugiyama’s “Santuario” exhibition can be truly both a sanctuary and a very calming, yet thought-provoking experience on a hot summer day.
When that room is entered all voices are hushed, and all merriment silenced. The place is as holy as a church. In the centre of the canvas is the Virgin Mother with a young, almost girlish face or surpassing loveliness. In her eyes affection and wonder are blended, and the features and the figure are the most spiritual and beautiful in the world's art.
His last and final piece, which is very interesting, is called the "Stoneware Vase*" It has two curled spiral handles, suggestive of ancient or pre-historic civilizat...
In conclusion of this research paper I believed I have gained a new and better appreciation of renaissance art. The period of great revolutions in art form and style is now one of my great favorites of all time. The Artsist that now has become a hero to me is Michelangelo. The Sistine chapel is a truly a place of great importance to art all around the world. While dissecting and analyzing the fresco it has been easier to see the crossing of disciplines. The great detail has been applied to sculpting stone has intern help the hand and brush to reveal the beauty of the human body.
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
A lot of thoughts and observations come to mind while watching The New Asylums. This is a documentary about life in prison for people who have mental diseases, so some of the thoughts and observations are actually quite sad. Many of the prisoners shown in the documentary look sad and defeated, and they have a right to, because having a mental disease even in the real world is very hard. In prison, they are allowed to refuse their medication, although at least there are people who will try to help them. Still, it looks miserable, even more miserable than prison looks for people who aren't suffering from a disease like schizophrenia. Mental illness is often used as the punch line of a joke, but like most other punch lines, it isn't that funny because it offends and demeans a whole subgroup of people. Subgroups are actually what stick out the most and make up the previously mentioned thoughts and observations. While watching all of this sadness on the screen, it's hard not to notice that there are some trends. The documentary was filmed in an all-male prison, so trends in gender aren't shown by the movie, but even the casual observer will notice that most of the inmates who are interviewed or showcased are people of color. This could indicate one of two things: there is a higher number of people of color who are affected by mental disorders or there is a higher number of people of color who are persecuted and tried by the law, ending up in prisons such as the one in the movie. Studying criminology is important because those questions matter, not just to the ruling group of the legal system, but to the individuals affected by disease and persecution, to their families, and to their communities. Investigating an obvious trend helps ans...
The painting was so popular, that he made its numerous versions with sightliest differences. The version presented in Metropolitan Museum, descended through the famil...
Ever since the arrival of the Renaissance, new ways of approaching art physically and emotionally have been introduced by some of the most prominent men of the rebirth and by many lesser known people. The innovators of the Renaissance have brought into the art world many new characteristics and techniques to paintings and sculptures. From experimentation, to observation, to getting in touch with the human body and mind, artists of the time period were able to learn and build upon that knowledge. The information and innovations they contributed sculpted the modern world of creativity for us to learn, use, and develop our own styles for future generations in the light of artistic encouragement.
This artwork remains relevant today with the depiction of a Roman love story and the architecture. The structural work that went into this sculpture is inspiring because I feel that even with modern technology, knowledge can be gained from how this piece was constructed and designed. The story this artwork tells, of Cupid rescuing Psyche, despite insatiable curiosity, can also be inspiring.
Man has always found pleasure in expressing himself by creating art. Through the centuries, man’s art has left behind clues and insight that enables the generations of today to understand their ancestors. In particular, historians and artist alike can see what certain Asian sculptures reflect of the culture and religious beliefs of Hinduism and Buddhism. Hinduism is the parent religion to Buddhism; much like Judaism is to Christianity. Despite Buddhism and Hinduism sharing similar philosophies and various idealisms, their respective sculptures also show their differences. There are two important characteristic of the sculptures of these religions. The first is motion versus rest, and second the subject matter. It is these two types of characteristics historians and artist can help use to decipher Hindu and Buddhist sculptures.
The aesthetic form may be “tentatively define[d] as the result of the transformation of a given content (actual or historical, personal or social fact) into a self-contained whole,”. Art, when created in accordance to the aesthetic form, is the channeling of an experience into a subjective format, i.e. a novel, a painting, a piece of music, or any of the many different art forms. The reality of an event is translated into the chosen medium, and in this sublimation of the event, it is modified in accordance to the “demands of the art form” and the subjective perspective of the individual. The re-presentation of this event serves to “invoke the need for hope- a need rooted in the new consciousness embodied in the work of art”. When an event or object becomes the subject of a piece of art, it is necessarily changed according to the restrictions of the art form, artist, and veiwer. This change creates a new reality in where the event may take on a new meaning, thus challenging the original content of the event. This meaning is further influenced by subjectivity of the
Although this extremely close connection of the individual with nature, the basic principle of Japanese gardens, has remained the constant throughout its history, the ways in which this principle has come to be expressed has undergone many great changes. Perhaps the most notable occurred in the very distinct periods in Japanese history that popularized unique forms of garden style—Heian (781-1185), and the Kamakura (1186-1393). Resulting from these two golden ages of Japanese history came the stroll garden from the former period and the Zen garden from the latter. As we shall see, the composition of these gardens was remarkably effected by the norms of architecture and the ideals of popular religion in these eras. Therefore, in understanding each garden style in its context, it is essential to also take into account the social, historical, and theological elements as well as the main stylistic differences.
Shanshui is a style of painting that has been practiced in China for one and a half millennia, it has a long history and it is part of world’s cultural heritage. It has always been more engaging to the hearts of the Chinese literati than flower-birds and human figure. Shanshui is not only for its own sake, but also as a vehicle, its because the it was never only about holding up a mirror to the landscape in keeping with dominant aesthetic tastes. It was always about reflecting on and negotiating the artists’ own position in relation to the world in that era – for centuries one with a majestic and noble nature of which humans were but a small and insignificant part. The other criteria were harmony, beauty and technique of execution.
In this assignment, I will provide the information on two, specific work of Arts that are unconventional. Therefore, after all the research that I preformed I actually discovered more than two, of course, but I decided to go with the most interesting to me. Justin Gignac created the first work of Art that I choose and the second one I choose was a building. The building is located in Sopot, Poland and it is called The Crooked House. In ending, this paper will have all the information about the work of Arts and the facts that back up the reason for the Artwork being unconventional.
Śaśibālā, , and Chandra Lokesh. Buddhist Art: In Praise of the Divine. New Delhi: Lustre Press, 2003. Print.
chase their dreams. In its proper residence, art can be very inspiring and provide a spectacular moment to the viewer. One of the most famous