Throughout many centuries, art has portrayed an exceedingly dominant role in Japanese culture. These forms of artwork varied from everything from pottery to clay figurines. Overall, the majority of Japanese art was and still is considered to be of high importance in Japanese history. However, the most intriguing and unique form of art was the Isho-ningyo and Iki-ningyo dolls, otherwise known as the "fashion doll" and the “living doll”. Both the Isho-ningyo and the Iki-ningyo were merely two of the plentiful assortment of dolls created by the famous Japanese artisan, Goyo Hirata, as items of “luxurious indulgence.” The Kintaro doll of Isho-ningyo type or Iko-ningyo type illustrates the significant advancements in Japanese doll art throughout history with the newfound technologies and composition attributed in each period. Japanese art has been practiced since 4,000 BC, otherwise known as the Jomon period. The Jomon is particularly known for creating the first forms of Japanese pottery. Although the Jomon period was thought to produce relatively simple artwork, the people of the Jomon were also the first to show the evolution of Japanese dolls. Essentially, this gradual step towards this treasure form of art was the Dogu, humanoid figures. Jomon period art gradually advanced throughout time with from the first creation of simple pottery, to storage vessels, and lastly to Dogu. Mainly, the technologies used during this time period consisted of clay, while the composition also consisted of simplistic designs such as coiling. This Japanese time period demonstrates the true beginning of the tr... ... middle of paper ... ...ecause of the overall historical background and basic artistic characteristics. Although, the Isho-ningyo and the Iki-ningyo are not a part of the modern day era, they still show significant advancements that will eventually point the way towards modern day Japanese art. These particular dolls show aspects of modern day art characteristics because of their complexity in structure and overall appearance. Each Japanese period contributes the steps towards the qualities that make up modern Japanese art, but the particular artwork of the Isho-ningyo and the Iki¬ningyo are the greatest contributors. Works Cited "Japanese Art." Columbia Electronic Encyclopedia, 6th Edition, (2011): 1-2. BALFOUR, R, and S BALFOUR. "Japanese Dolls." Arts of Asia, 6.4 (1976): 67-74. Rimer, J. Thomas. "High Culture in the Showa Period." Daedalus, 119.3 (1990): 265- 278.
Born in 1951 in Osaka, the third largest city in Japan, Yasumasa Morimura is a Japanese artist who has become well-known for his captivating and elaborate portraits which emulate iconic art historical images as well as aspects of mass media and popular Western culture. He is able to realistically slide into the roles of art historical icons such as the Mona Lisa as well as prominent actresses such as Marilyn Monroe through extensive preparation. A majority of his portraits deal with issues such as cultural and sexual appropriation as well as the multifaceted, complicated relationship between Japan and the West. Costumes, makeup, props, and digital manipulation are used to produce provocative, large-scale self-portraits which challenge these
Douglas M. Kenrick, Jomon Of Japan: The World’s Oldest Pottery (London, UK: Taylor & Francis, Inc. 1995).
Norton, Deborah. “Japan Unique Fiber Art: Ikebana,” Surface Design Journal 17.1 (2002): 38-45. Art Source.
Very few dolls were carved out of a single piece of wood. The arms and legs and head were carved separately and glued to the torso.
I learned about many significant artwork and artists in this class. This class provided me with a better understanding of the history of the world of art, but also helped me understand the development of art styles. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
At a mere 16 3/8 inches, the Fudo Myo-o at the Art Institute at Chicago is not the first object in the Japanese collection to catch your eye. Yet, when you pass by it will stop you in your tracks. The Fudo Myo-o is like nothing you’ve ever seen. His bulging eyes fasten onto your own, a gaze so vicious you cannot tear away from it. His piercing stare draws you in and his stance seems to beckon you to come forth. His furrowed brow and protruding fangs created a facial expression so intense it feels almost as if he is trying to tell you something. His arms seem to have, at some point, been holding something and they are open as if they are welcoming you and offer some kind of promise. Fudo sits upon a rectangular foundation, which gives the impression that his is some kind of deity or god-like figure. The Fudo Myo-o has fabric draped over his left shoulder and is wearing lavish jewelry reminiscent of a Bodhisattva. His jewelry also hints to the viewer that he must have some level of nobility. He also has shell li...
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
The print of art is a Hiroshige, Plum Garden at Kameido, 1857, woodblock print. The print shows a calm and peaceful color of a regular day. The background consists of wash colors like reddish-pink that fades into white, and transfers once more in a green hue of the greenish ground. The image is showing a view of a several plum trees, with the stems, the flower, and the people on the other side of the fence. This work has a light pink background symbolizing the sunset and warm colors of the spring. The middle ground in the light white color shows the piece where there are people on the other side of the fence and appears to be walking around the garden or going throughout their daily business. The middle ground also has a view of several plum trees, which all of them seem to be inside of the fence. The focal point of the piece is the main plum tree with its branches swinging from the left at a sharp angle and moving to the right.
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
From the animated mega city of Tokyo, to the serene zen gardens with rustic ponds home to the koi fish, Japan has a unique past, present, and future. The alcove ornament samurai houses called, shoin-zukuri are a symbol of the struggling past that Japan escaped. These samurai houses were training centers long ago of judo, sumo, and other martial arts. Lush trees envelope houses, and the religion Shintoism was developed back in 500 A.D. Paintings and drawings capture the grace and beauty the landscape portrays. The Japanese dragons reveal the legends held within themselves, many are associated with rainfall and the ability to reach peace. Seeking farther inland you witness the largest city in the world, Tokyo. Cars, buses, subway systems, taxis, and bicycles are buzzing through every street, going to and from work, quickly advancing technology.
Jarves, J (1984) A Glimpse at the Art of Japan Charles E. Tuttle, Tokyo, Japan.
Trans. By Donald Richie. Yale University Press, 1972. Kincaid, Mrs. Paul, Japanese Garden and Floral Art. New York: Hearthside Press, Inc., 1966.
Stone, Tanya Lee. The Good, the Bad, and the Barbie: A Doll's History and Her Impact on Us. New York: Penguin Group, 2010. Print.
"Realism and the Significance of A Doll's House." Wikispaces.com. Ed. Tangient LLC. Wikispaces, 2011. Web. 8 Apr. 2011. .
In modern society, Greek pottery is considered an art which is regarded as much for its aesthetic splendor as its historical significance. However, the role of pottery in ancient Greek culture was far more functional as its primary use was for the transportation and storage of such liquids as water and wine (Encyclopedia Britannica). Due to the durability of the fired clay material, Greek pottery is the only remaining art form that allows us to explore the evolution of this ancient culture. Through that examination, three distinct stylistic periods have been unveiled: Geometric, Orientalizing and Archaic. This analysis will detail these distinct periods as well as three design techniques prevalently used: black figure, red figure and white ground