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拜登、澤倫斯基。 2024 0410 Biden and Kishida Agree to Tighten Military and Economic Ties to Counter China
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KUSO日本歷史BP人物 臨終經驗 蒔絵の人間国宝. Japanology Plus explores Japanese life and culture. In this 5-minute digest, we look at lacquerware: durable objects with a distinctive luster.
10:50-10:55
Japanology Plus mini
Japanology Plus explores Japanese life and culture. In this 5-minute digest, we look at lacquerware: durable objects with a distinctive luster.
KUSO日本歷史BP人物
〔編譯林翠儀／綜合報導〕如果日本歷史上的偉人活在現代的話，會是什麼造型打扮呢？最近日本網路上吹起一股惡搞歷史名人的風潮，包括日本大教育家福澤諭吉、大文豪夏目漱石、芥川龍之介及島崎藤村等人都被改造成視覺系扮相，酷炫效果令人驚豔。
福澤諭吉有「明治6大教育家」之稱主張「脫亞入歐」論，影響明治維新，他的肖像從1984年起就被印在日圓1萬元紙幣上。表情嚴肅、嘴角略微下壓的諭吉肖像，最近卻被網友改造成滿頭金髮、穿著鼻環、畫著煙燻妝的視覺系扮相。
由於諭吉被改造得炫酷逼人，網友反應熱烈，於是有人加碼將舊版千元鈔上的夏目漱石也加以改造，原本就帶有「憂鬱書生」色彩的夏目，被網友拿來與日本視覺系歌手Gackt「合體」，結果效果更是驚人，網友直呼帥呆了。
在網友接力KUSO下，日本文學巨擘芥川龍之介成了戴著唇環的視覺系王子，已故日本當代文豪太宰治，也如大家預期的被改造成帶有濃厚頹廢派風格，日本文學現代主義大師島崎藤村，則被改造成超萌的羅莉塔造型，網友的驚人創意令人拍案叫絕。
***
〔編譯林翠儀／綜合報導〕日本一份調查報告顯示，在自宅過世的患者，有4成比率在臨終前看到過世的親人或神明前來「接引」，且有此經驗者多半能安詳地過世。
看見往生親人或神佛
人在臨終前會有過世的親人或神明前來迎接，已在宗教的輪迴轉世說或生死學中被廣泛討論，但日本可能是第一個官方提供經費，研究臨終「接引」體驗的國家。
讀賣新聞報導，日本宮城縣一群醫療人員組成在宅醫療團隊，去年起和大學研究人員，在文部科學省提供經費贊助下，結合宮城縣及福島縣等地六家在地診所，針對541名已過世患者的1191名家屬進行問卷調查，這些患者都是在家屬守護下於自宅過世。
調 查結果顯示，有4成2的患者在臨終前看到別人看不到的景象，不但看得到、聽得到，也能感受得到，其中一半患者告訴家屬看到已過世的親人，有人則是感受到神 明或光影。研究小組將這種臨終體驗視為宗教指涉的「接引」，調查也發現臨終前的「接引」體驗，緩和了多數患者對死亡的不安情緒，有4成7的臨終患者覺得很 好，持否定意見者僅1成9。
參與這項調查研究的在宅醫療專門醫生岡部健認為，即使臨終「接引」體驗是出自患者的幻覺或妄想，卻可協助患者及其家屬安詳地面對死亡，從這點來看值得給予正面評價。
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蒔絵
一種日本工藝美術。以金屬或貝殼塗嵌在漆器表面，構成各種花鳥、山水等圖案的形狀，依製成方法可分為平蒔繪、高蒔繪、研出蒔繪和螺鈿蒔繪等。
Maki-e (蒔絵?, literally sprinkled picture) is Japanese lacquer sprinkled with gold or silver powder as a decoration using a makizutsu or a kebo brush. The technique was developed mainly in the Heian Period (794–1185) and blossomed in the Edo Period (1603–1868). Maki-e objects were initially designed as household items for court nobles, they soon gained more popularity and were adopted by royal families and military leaders as an indication of power.
漆器の板屏風に描かれた蒔絵の菊
蒔絵（拡大画像）
蒔絵（まきえ）は、漆芸の技法の一つである。
漆器の表面に漆で絵や文様、文字などを描き、それが乾かないうちに金や銀などの金属粉を「蒔く」ことで器面に定着させる技法である。金属の薄板を定着させる平文（ひょうもん）（または平脱/へいだつ）や漆器表面に溝を彫って金銀を埋め込む沈金、夜光貝、アワビ貝などを文様の形に切り透かしたものを貼ったり埋め込んだりする「螺鈿」（らでん）とは区別される。
「平文」や「螺鈿」が中国起源の技法であるのに対し、蒔絵はその初例を正倉院宝物の金銀鈿荘唐大刀（きんぎんでんかざりのからたち、通称「末金鏤の大刀」（まっきんるのたち））とされており、海外に類例のない日本独自の漆芸技法とされている。
〔編譯林翠儀／綜合報導〕如果日本歷史上的偉人活在現代的話，會是什麼造型打扮呢？最近日本網路上吹起一股惡搞歷史名人的風潮，包括日本大教育家福澤諭吉、大文豪夏目漱石、芥川龍之介及島崎藤村等人都被改造成視覺系扮相，酷炫效果令人驚豔。
福澤諭吉有「明治6大教育家」之稱主張「脫亞入歐」論，影響明治維新，他的肖像從1984年起就被印在日圓1萬元紙幣上。表情嚴肅、嘴角略微下壓的諭吉肖像，最近卻被網友改造成滿頭金髮、穿著鼻環、畫著煙燻妝的視覺系扮相。
由於諭吉被改造得炫酷逼人，網友反應熱烈，於是有人加碼將舊版千元鈔上的夏目漱石也加以改造，原本就帶有「憂鬱書生」色彩的夏目，被網友拿來與日本視覺系歌手Gackt「合體」，結果效果更是驚人，網友直呼帥呆了。
在網友接力KUSO下，日本文學巨擘芥川龍之介成了戴著唇環的視覺系王子，已故日本當代文豪太宰治，也如大家預期的被改造成帶有濃厚頹廢派風格，日本文學現代主義大師島崎藤村，則被改造成超萌的羅莉塔造型，網友的驚人創意令人拍案叫絕。
***
〔編譯林翠儀／綜合報導〕日本一份調查報告顯示，在自宅過世的患者，有4成比率在臨終前看到過世的親人或神明前來「接引」，且有此經驗者多半能安詳地過世。
看見往生親人或神佛
人在臨終前會有過世的親人或神明前來迎接，已在宗教的輪迴轉世說或生死學中被廣泛討論，但日本可能是第一個官方提供經費，研究臨終「接引」體驗的國家。
讀賣新聞報導，日本宮城縣一群醫療人員組成在宅醫療團隊，去年起和大學研究人員，在文部科學省提供經費贊助下，結合宮城縣及福島縣等地六家在地診所，針對541名已過世患者的1191名家屬進行問卷調查，這些患者都是在家屬守護下於自宅過世。
調 查結果顯示，有4成2的患者在臨終前看到別人看不到的景象，不但看得到、聽得到，也能感受得到，其中一半患者告訴家屬看到已過世的親人，有人則是感受到神 明或光影。研究小組將這種臨終體驗視為宗教指涉的「接引」，調查也發現臨終前的「接引」體驗，緩和了多數患者對死亡的不安情緒，有4成7的臨終患者覺得很 好，持否定意見者僅1成9。
參與這項調查研究的在宅醫療專門醫生岡部健認為，即使臨終「接引」體驗是出自患者的幻覺或妄想，卻可協助患者及其家屬安詳地面對死亡，從這點來看值得給予正面評價。
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大場松魚さん死去 蒔絵の人間国宝
大場松魚さん
大場松魚さん（おおば・しょうぎょ＝蒔絵〈まきえ〉師、人間国宝、金沢美術工芸大名誉教授、本名大場勝雄〈おおば・かつお〉）が２１日、老衰で死去、 ９６歳。通夜は２３日午後７時、葬儀は２４日午前１１時から金沢市元町１の８の２０のセレモニー会館兼六城北で。喪主は長男で横浜薬科大教授の正志（まさ し）さん。
１９８２年、重要無形文化財保持者（人間国宝）に認定された。
蒔絵
一種日本工藝美術。以金屬或貝殼塗嵌在漆器表面，構成各種花鳥、山水等圖案的形狀，依製成方法可分為平蒔繪、高蒔繪、研出蒔繪和螺鈿蒔繪等。
Maki-e (蒔絵?, literally sprinkled picture) is Japanese lacquer sprinkled with gold or silver powder as a decoration using a makizutsu or a kebo brush. The technique was developed mainly in the Heian Period (794–1185) and blossomed in the Edo Period (1603–1868). Maki-e objects were initially designed as household items for court nobles, they soon gained more popularity and were adopted by royal families and military leaders as an indication of power.
漆器の表面に漆で絵や文様、文字などを描き、それが乾かないうちに金や銀などの金属粉を「蒔く」ことで器面に定着させる技法である。金属の薄板を定着させる平文（ひょうもん）（または平脱/へいだつ）や漆器表面に溝を彫って金銀を埋め込む沈金、夜光貝、アワビ貝などを文様の形に切り透かしたものを貼ったり埋め込んだりする「螺鈿」（らでん）とは区別される。
「平文」や「螺鈿」が中国起源の技法であるのに対し、蒔絵はその初例を正倉院宝物の金銀鈿荘唐大刀（きんぎんでんかざりのからたち、通称「末金鏤の大刀」（まっきんるのたち））とされており、海外に類例のない日本独自の漆芸技法とされている。
Rimpa (琳派 Rimpa),Distinctive Style of Japanese Art Known as Rinpa is Explored in Metropolitan Museum Exhibitio. lacquerware:
10:50-10:55
Japanology Plus mini
Japanology Plus explores Japanese life and culture. In this 5-minute digest, we look at lacquerware: durable objects with a distinctive luster.
Distinctive Style of Japanese Art Known as Rinpa is Explored in Metropolitan Museum Exhibition
May 26, 2012– January 13, 2013
Second Rotation: September 12, 2012 – January 13, 2013
Location: The Sackler Wing Galleries for the Arts of Japan, second floor
Press viewing: Monday, September 10, 10 a.m. - noon
Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early 17th century and has continued into modern times. Literally meaning “school of Korin,” Rinpa derives its name from that of the renowned artist Ogata Korin (1658–1716). It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with brush techniques.
The exhibition is made possible by The Miriam and Ira D. Wallach Foundation.
A special exhibition featuring some 90 brilliantly executed works of art created in Japan by Rinpa-school artists will be held at The Metropolitan Museum of Art in two rotations; the first opening on May 26 and the second on September 12, 2012. Highlighting the school’s most prominent proponents, Designing Nature: The Rinpa Aesthetic in Japanese Art will trace the development of the Rinpa style and demonstrate how it continued to influence artists through the 19th and 20th centuries. Comprising some 50 works from the Museum’s own holdings, as well as some 45 loans from public and private collections on the East Coast, the exhibition will include many masters’ renowned works in a variety of media―painting, textiles, lacquerware, and ceramics.
Works on view in the exhibition’s first rotation will include: an early 18th-century, two-panel folding screen, Rough Waves, by Ogata Korin, depicting highly stylized waves; another 18th-century, two-panel folding screen, The Persimmon Tree, by Sakai Hoitsu, the founder of the Edo branch of Rinpa, revealing the ink-painting techniques he learned from predecessors such as Tawaraya Sotatsu; and a 19th-century pair of six-panel folding screens, Morning Glories by Suzuki Kiitsu, who was Hoitsu’s primary pupil and who captured the exuberant proliferation of the blossoms and leaves.
A centerpiece of the exhibition’s second rotation will be the famous Korin Irises at Yatsuhashi (Eight Bridges), with its brilliant array of clusters of purple irises against a gold background. A hanging scroll by Kenzan, Korin’s younger brother, captures an autumnal mood through a depiction of vivid red ivy and a poem rendered in the artist’s distinctive calligraphy. An early 17th-century screen of calligraphy by Konoe Nobutada features transcriptions by female poets of the Heian court; on loan from Yale University Art Museum, it will be on public display for the first time.
Along with once-in-a-lifetime displays of masterpieces of painting and calligraphy, the exhibition will highlight rare illustrated books, lacquerware, ceramics, cloissoné, and kimono that demonstrate how the Rinpa aesthetic was transmitted over generations into modern times. Special digital displays of illustrated books by Kamisaka Sekka will be available in the galleries so that visitors can “turn the pages” of early 20th-century books that will be exhibited in cases nearby.
By the late 19th century, the idea of a Rinpa school had become firmly established, both in the Japanese consciousness of a national history of art and internationally. To a certain extent, Rinpa became synonymous with the very idea of Japanese art, since its aesthetic extended to the lacquerware, textiles, and ceramics that were transmitted to the West. Prominent among the artists of the modern age who exemplified the transmission of this Kyoto-based aesthetic into the modern consciousness were Shibata Zeshin, a lacquer artist and painter, and Kamisaka Sekka, who excelled in both painting and print media.
The exhibition will be accompanied by a catalogue.
The catalogue is made possible by the Richard and Geneva Hofheimer Memorial Fund.
In conjunction with the exhibition, the Museum offers various education programs, including gallery talks and a Sunday at the Met on September 30.
Designing Nature: The Rinpa Aesthetic in Japanese Art is organized by John T. Carpenter, Curator of Japanese Art in the Department of Asian Art at The Metropolitan Museum of Art.
The exhibition will be featured on the Museum’s website at www.metmuseum.org.
# # #
September 6, 2012
From Wikipedia, the free encyclopedia
(Redirected from Rinpa)
The term "Rimpa" is an abbreviation consisting of the last syllable from "Kōrin" with the word for school (派 ha) (with rendaku changing this to "pa"), coined in the Meiji period. Previously, the style was referred to variously as the Kōetsu school (光悦派 Kōetsu-ha), or Kōetsu-Kōrin school (光悦光琳派 Kōetsu-Kōrin-ha), or the Sōtatsu-Kōrin school (宗達光琳派 Sōtatsu-Kōrin-ha).
Contents |
History
His collaborator, Tawaraya Sōtatsu maintained an atelier in Kyoto and produced commercial paintings such as decorative fans and folding screens. Sōtatsu also specialized in making decorated paper with gold or silver backgrounds, to which Kōetsu assisted by adding calligraphy.
Both artists came from families of cultural significance; Kōetsu came from a family of swordsmiths who had served the imperial court and the great warlords, Oda Nobunaga and Toyotomi Hideyoshi, in addition to the Ashikaga shōguns. Kōetsu's father evaluated swords for the Maeda clan, as did Kōetsu himself. However, Kōetsu was less concerned with swords as opposed to painting, calligraphy, lacquerwork, and the Japanese tea ceremony (he created several Raku Ware tea bowls.) His own painting style was flamboyant, recalling the aristocratic style of the Heian period.
Sōtatsu also pursued the classical Yamato-e genre as Kōetsu, but pioneered a new technique with bold outlines and striking color schemes. One his most famous works are the folding screens ”Wind and Thunder Gods" (風神雷神図 Fūjin Raijin-zu) at Kennin-ji temple in Kyoto and "Matsushima" ( 松島) at the Freer Gallery.
Later development
His masterpiece "Red and White Plum Trees" (紅白梅図 Kōhakubai-zu) c. 1714/5, is now at the MOA Museum of Art in Atami, Shizuoka. A dramatic composition, it established the direction of Rimpa for the remainder of its history. Kōrin collaborated with Kenzan in painting designs and calligraphy on his brother's pottery. Kenzan remained as a potter in Kyoto until after Kōrin's death in 1716 when he began to paint professionally. Other Rimpa artists active in this period were Tatebayashi Kagei, Tawaraya Sori, Watanabe Shiko, Fukae Roshu and Nakamura Hochu.
Modern Rimpa
Rimpa was revived in 19th century Edo by Sakai Hōitsu (1761–1828), a Kanō school artist whose family had been one of Ogata Kōrin’s sponsors. Sakai published a series of 100 woodcut prints based on paintings by Kōrin, and his painting "Summer and Autumn Grasses" (夏秋草図 Natsu akikusa-zu) painted on the back of Kōrin’s "Wind and Thunder Gods screen" is now at the Tokyo National Museum.Paintings of the early "Rimpa" artists were anthologized in small paperback booklets such as the Korin gafu (The Korin Picture Album) by Nakamura Hochu, first published in 1806. This was followed by an original work by Sakai Hoitsu called the Oson gafu, published in 1817.
Sakai had numerous students who carried the movement forward into the late 19th century, when it was incorporated into the Nihonga movement by Okakura Kakuzo and other painters. The influence of Rimpa was strong throughout the early modern period, and even today Rimpa-style designs are popular. One later artist of note is Kamisaka Sekka.
Style
Rimpa artists worked in various formats, notably screens, fans and hanging scrolls, woodblock printed books, lacquerware, ceramics, and kimono textiles. Many Rimpa paintings were used on the sliding doors and walls (fusuma) of noble homes.Subject matter and style were often borrowed from Heian period traditions of yamato-e, with elements from Muromachi ink paintings, Chinese Ming dynasty flower-and-bird paintings, as well as Momoyama period Kanō school developments. The stereotypical standard painting in the Rimpa style involves simple natural subjects such as birds, plants and flowers, with the background filled in with gold leaf. Emphasis on refined design and technique became more pronounced as the Rimpa style developed.
Notable Rimpa artists
References
- Leach, Bernard. Kenzan and his tradition;: The lives and times of Koetsu, Sotatsu, Korin, and Kenzan. Transatlantic Arts (1967). ASIN: B0006BPM10
- Mizuo, Hiroshi. Edo Painting: Sotatsu and Korin (Heibonsha Survey of Japanese Art). Art Media Resources (1972). ISBN 0-8348-1011-5
- Saunders, Rachel. "Le Japon Artistique: Japanese Floral Pattern Design of the Art Nouveau Era. From the Collection of the Museum of Fine Arts, Boston." Chronicle Books (2010). ISBN 978-0-8118-7276-8
- Stern, Harold P. Rimpa Masterworks of the Japanese Decorative School. The Japan Society (1971). ASIN B0000EEBUB
- Stanley-Baker, Joan (1984). "Japanese Art." London: Thames and Hudson Ltd.
善本喜一郎的東京絕景
1984年，東京攝影師善本喜一郎花了幾天時間在東京周圍拍照。當時他沒預料到，這些照片日後將會發展為一個長期計畫。東京變化快速，善本覺得自己成為了時代的記錄者。
https://www.instagram.com/kiichiro.yoshimoto/
Backstories
東京的過去與現在：攝影師記錄的40年變化
(星期五) 2023年 2月 10日
2020年新冠疫情流行迫使人們待在家中，這位62歲的攝影師決定趁機整理成堆的舊底片。他找到了1000張底片，內容是當時曾在藝廊展示過的1980年代東京黑白街景。
這位商業攝影師說：「起初，我不記得曾經拍過這些照片。我喜歡看著這些照片，想著如果可以重回這些地方，拍攝相同的照片來對比過去和現在的話，應該會很有趣。」
從那時候起，善本帶著他的數位相機走遍東京，再次造訪他於40年前首次拍攝時的場景。
Backstories
東京的過去與現在：攝影師記錄的40年變化
(星期五) 2023年 2月 10日
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