Joan Stanley-Baker: Japanese art. (World of Art.) 216 pp. London: Thames and Hudson, 1984. £3.95.

1986 ◽  
Vol 49 (3) ◽  
pp. 617-618
Author(s):  
Youngsook Pak
Keyword(s):  
Art World ◽  
Japanese Art

scholarly journals MADHUBANI FOLK PAINTINGS AND AMAZING COMBINATION OF COLORS

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-2
Author(s):  
Lal Bahadur Kumar
Keyword(s):  
South Africa ◽  
Art World ◽  
Great Demand ◽  
Japanese Art

Through the Madhubani Lak Chitrakala of Mithilanchal, the tradition of Lakkitra is still being maintained. The art of the art is dynamic even today, based on the Sh वंशi dynasty tradition. Madhubani paintings are in great demand abroad but they are neglected in their own country. It is unfortunate that those who have skills in their hands are poor on the rural artist. The country's art world did not get noticed, while "Hasebhawa of Japan has established the Mithila Museum on a hill in Niigata, northwest of the capital Takia." "Hasegawa", a Japanese art admirer and art connoisseur, has visited India more than twenty five times. He also went to the residence of many famous artists of Madhubani paintings and discussed the combination of techniques and colors with the artists of Mithila and Madhubani paintings. After understanding, Mithila artists went to Japan with them and also painted them. Apart from this, many artists visiting America, England, South Africa, France, Germany, Mauritius have made people aware of this art and have raised the value of the country. मिथिलांचल की मधुबनी ल¨क चित्र्ाकला के माध्यम से ल¨कचित्र्ा परम्परा का निर्वाह आज भी किया जा रहा है। यहाँ की ल¨क कला श्©ली वंश परम्परा के आधार पर आज भी गतिशील है। मधुबनी ल¨क चित्र्ाकला की विदेश¨ं में काफी मांग है ल्¨किन वह अपने ही देश में उपेक्षित है। दुर्भाग्य की बात है कि जिनके हाथ में हुनर है, वे ग्रामीण कलाकार आमत©र पर गरीब हैं। देश के कला-जगत् की नजर इस पर नहीं गई, जबकि ‘‘जापान के हासेभावा ने राजधानी ट¨किय¨ से उत्तर-पश्चिम में स्थित निगाता में एक पहाड़ी पर मिथिला म्यूजियम की स्थापना की है। जापान के कला के मर्मज्ञ एवं कला पारखी ‘‘हासेगावा’’ पच्चीस से अधिक बार भारत आ चुके हैं। वे मधुबनी ल¨क चित्र्ाकला के कई सुप्रसिद्ध कलाकार¨ं के आवास पर भी गए अ©र मिथिला के कलाकार¨ं से मधुबनी ल¨क चित्र्ाकला के माध्यम व तकनीक एवं रंग¨ं के संय¨जन पर चर्चा की अ©र उनक¨ समझने के बाद मिथिला कलाकार¨ं क¨ अपने साथ जापान ल्¨ जाकर चित्र्ा रचना भी कराई। इसके अलावा अमेरिका, इंग्ल्©ण्ड, दक्षिण अफ्रीका, फ्रांस, जर्मनी, मॉरीशस जाकर कई कलाकार¨ं ने इस ल¨क कला श्©ली से ल¨ग¨ं क¨ अवगत कराया अ©र देश का मान बढ़ाया है।

scholarly journals Beyond the Screen

2019 ◽  
Author(s):  
Eugenio De Angelis
Keyword(s):  
Film Theory ◽  
Active Agent ◽  
Art World ◽  
Role Changes ◽  
Avant Garde ◽  
Japanese Art ◽  
The Sixties ◽  
The Spectator ◽  
Movie Theatre

Intermedial practices are a common trademark of the Japanese art world in the sixties and seventies. This article focuses on a case study of such practices, namely the relationship between artwork and audience in Terayama Shūji’s cinema. Moving from the author’s theatrical theories on spectatorship (kankyakuron), the paper applies those theories to Terayama’s experimental movies, analysing how they are adapted to the cinematic medium. This study conceives a three-phased system, where the spectator is progressively brought towards the screen and his role changes from passive viewer to active agent. The study adopts an approach based on performance studies and avant-garde film theory to reveal how Terayama moulds the movie-going practice into a performative and collective event, using the movie theatre as a theatrical stage.

Guan Liang, Tan Huamu, and Ding Yanyong: Their Modern Art Practice and the Phenomenon of the “Tōyō Review”

2020 ◽  
Vol 2 (1) ◽  
pp. 3-56
Author(s):  
Cai Tao
Keyword(s):  
Modern Art ◽  
Chinese Painting ◽  
Cultural Tradition ◽  
Chinese Art ◽  
Art World ◽  
Cultural Perspectives ◽  
Cross Media ◽  
Sudden Rise ◽  
Japanese Art ◽  
The Face

During the late Taishō period, three Guangdong-born Chinese artists, Guan Liang 關良 (1900–1986), Tan Huamu 譚華牧 (1896–1976), and Ding Yanyong 丁衍庸 (1902–1978), were studying in Tokyo, Japan. After their return to China, they engaged daily in a kind of cross-media practice in oil and ink paintings that serves to remind us of the need to rethink the cultural experiment that China’s modern art movements have undertaken since the 1920s, and which has thus far been overlooked. In the face of the sudden rise of attention towards literati paintings in the Japanese art world, and in the midst of the Western modern art currents that were centered in Paris, these Japan-trained artists, with their comparative cultural perspectives, began to re-examine their own cultural tradition and form a cross-media creative model with an intrinsic cultural reflectiveness and innovative outlook. Moreover, the phenomenon of the “Tōyō review” 東洋回顧 that emerged from the intense interactions between the cultures of East and West not only brought about the concept of “Chinese painting,” but also led to the rise of the notion of the “superiority of Chinese art.”

The Place of Traditional Artists in the Preservation of Nigerian Art

2018 ◽  
pp. 75-88
Author(s):  
Victoria N Osuagwu
Keyword(s):  
Belief Systems ◽  
Sacred Grove ◽  
Art World ◽  
Human Beings ◽  
Open Spaces ◽  
Economic Resource ◽  
The People ◽  
Traditional Artists ◽  
Global Art ◽  
Source Of Information

Human beings have always left signs of their activities behind them. These signs take both tangible and intangible forms, including buildings, sites, sculptural works, antiquities, rock art paintings, belief systems, and traditions. The people of this millennium have recognized the remains of our fore-bears namely archaeological, architectural monuments, sites, and cultural works as an integral part of the cultural heritage of all humanity. They also recognized the fact that heritage is an invaluable source of information about the lives and activities of human beings and their artistic and technical capabilities over the centuries. The Nigerian Ancient Art Tradition which spans eight thousand years is a product of diverse artists from Dufuna, Nok, Igbo-Ukwu, Ife, Owo, Benin, Tada, etc. Also remarkable are the sculptural works created by late Susanne Wenger (an Austrian) and her New Sacred Art Movement in Osun-Osogbo Sacred Grove, which gave meaning to open spaces within the grove. This paper examines the role played by these artworks to project Nigeria to the global art world. The benefits to Nigeria and the global art traditions and recommendations on how to revive this dwindling economic resource will also be examined. The approach used was to study the artworks produced by some of these artists. Some of the findings were that the works were carefully done with suitable materials that have withstood climate change.

Moment's Monument

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Art World ◽  
Self And Other ◽  
Single Culture ◽  
Modern Sculpture ◽  
The World ◽  
History Of ◽  
Critical Account ◽  
Modern Experience ◽  
Artistic Heritage

Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.

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