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Joan Stanley-Baker | 240 pages | 28 Oct 2014 | Thames & Hudson Ltd | 9780500204252 | English | London, United Kingdom - Wikipedia

Lacquerware is a longstanding tradition in Japan[6] [7] and at some point kintsugi may have been combined with maki-e as a replacement for other ceramic repair techniques. While the process is associated with Japanese craftsmen, the technique was also applied to ceramic pieces of other origins including China, , and Korea. Kintsugi became closely associated with ceramic vessels used for chanoyu . When it was returned, Japanese Art with ugly metal staples, it may have prompted Japanese Art craftsmen to look for a more aesthetic means Japanese Art repair. As a , kintsugi can be seen to have similarities to the Japanese philosophy of wabi-sabi Japanese Art, an embracing of the flawed or imperfect. This can be seen as a rationale for keeping an object around even after it has broken and as a justification of kintsugi itself, highlighting the cracks and repairs as simply an event in the life of an object rather Japanese Art allowing its service to end at the time of its damage or breakage, and can be seen as a variant of the adage "Waste not, want not". Not only is there no attempt to hide the damage, but the repair is literally illuminated Mushin is often literally translated as "no mind," but carries connotations of fully existing within the moment, of non-attachment, of equanimity amid changing conditions. The Japanese Art of existence over time, to which all humans are susceptible, could not be clearer than in the breaks, the knocks, and the shattering to which ceramic ware too is subject. This poignancy or aesthetic of existence has been known Japanese Art Japan as mono no awarea compassionate sensitivity, or perhaps identification with, [things] outside oneself. There are a few major styles or types of kintsugi :. Staple repair is a similar technique used to repair broken ceramic pieces, [16] where small holes are drilled on either side of a crack and metal staples Japanese Art bent to hold the pieces together. Kintsugi is the general concept of highlighting or emphasizing imperfections, visualizing mends and seams as an additive or an area to celebrate or focus on, rather than absence or missing pieces. Modern artists experiment with the ancient technique as a means of analyzing the idea of loss, synthesis, and improvement through destruction and repair or rebirth. While originally ignored as Japanese Art separate art Japanese Art, kintsugi and related repair methods Japanese Art been featured at exhibitions at the Freer Gallery at the Smithsonianthe Metropolitan of Artand the Herbert F. Johnson Museum of Art. Referenced in the Chemical Heartsdirected by Richard Tanne, when character Henry Page celebrates and engages in the art form. Media related to Kintsugi at Wikimedia Commons. From Wikipedia, the free encyclopedia. Japanese art of repairing broken with lacquer dusted or mixed with powdered gold, silver, or platinum. This article is about the Japanese Art art form. For the Death Cab for Cutie album, see Kintsugi album. Japan portal Arts portal. My Modern Met. Retrieved September 22, New Japanese Art Times. Retrieved April 5, Japanese Art 8, The Washington Post. Antiques Journal. February 37— Archived from the original on Sydney Morning Herald. Johnson Museum of Art". Listen to this article. This Japanese Art file was Japanese Art from a revision of this article datedand does not reflect subsequent edits. Audio help More spoken articles. Japanese pottery and porcelain. 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Antiques restoration Archaeological Building restoration Conservation Japanese Art Digital photograph restoration preservation Object conservation Optical media Japanese Art conservation Preservation library and archival science Restoration . artwork Arrested decay Architecture paintings Detachment of wall paintings Imaging of cultural Japanese Art Kintsugi Mold control and prevention in libraries splitting Radiography of cultural objects Reconstruction architecture Textile stabilization Japanese Art of panel paintings UVC-based preservation VisualAudio. Categories : Ceramic art Conservation and restoration of cultural heritage Japanese pottery Japanese art terminology. 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Japanese artthe paintingcalligraphy, architecture, pottery, sculpturebronzes, jade carving, and other fine or decorative visual arts produced in Japanese Art over the centuries. Japanese art is the painting, calligraphyarchitecture, pottery, sculpture, and other visual arts produced in Japan from about 10, BCE to the present. Within its diverse body of expression, certain characteristic elements seem to be recurrent: adaptation of other cultures, respect for nature as a model, humanization of religious iconography, and appreciation for material as a vehicle of meaning. came from Korea in the 6th century, leading to the construction of religious sites and sculptures that adhered to Korean and Chinese prototypes. The study of Japanese art has frequently been complicated by the definitions and expectations established in the late 19th and early 20th centuries, when Japan was opened to the West. The occasion of dramatically increased interaction with other cultures seemed Japanese Art require a convenient summary of Japanese aesthetic principles, and Japanese art historians and archaeologists began to construct methodologies to categorize and assess a vast body of material ranging from Neolithic pottery to wood-block Japanese Art. Formulated in part from contemporary scholarly assessments and in part from the syntheses of enthusiastic generalists, these theories on Japanese Art characteristics of Japanese culture and, more specifically, Japanese art not Japanese Art bore the prejudices and tastes of the times. There Japanese Art, for example, a tendency to cast the court art of the Heian period — as the Japanese Art of Japanese artistic achievement. The aesthetic preference for refinement, for images subtly imbued with metaphoric meaning, reflected the sublimely nuanced court mores that permitted only oblique reference to emotion and valued suggestion over bold declaration. Existing in tandem with the canonization of the Heian court aesthetic was the notion that the aesthetic sensibilities surrounding the tea ceremony were quintessentially Japanese. This communal ritual, developed in the 16th century, emphasized the hyperconscious Japanese Art of found and finely crafted objects in an exercise intended to lead to subtle epiphanies of insight. Japanese Art further highlighted the central role of indirection and understatement in the Japanese visual aesthetic. As the author of such works as The Ideals of the EastThe Awakening of Japanand The of Teahe reached an even wider Japanese Art eager to Japanese Art an antidote to the clanging Japanese Art and belching smokestacks of Western modernity. Japan—and, writ large, Asia—was understood as a potential source of Japanese Art renewal for the West. This surprisingly bellicose Japan Japanese Art clearly more than tea and gossamer, and it seemed that perhaps an overly selective definition of Japanese arts and culture might have Japanese Art useful hints of violence, passion, and deeply influential strains of heterodoxy. At the opening of the 21st century, superficial impressions of Japan still fostered a nagging schizophrenic image combining the polar characteristics of elegant refinement and economic prowess. The pitfalls of oversimplification have been noted above, however, and a century of scholarship, both Japanese and Western, has provided ample evidence of a heritage of visual expression that is as utterly complex and varied as the wider culture that produced it. Nevertheless, within the diversity discernible patterns and inclinations can be recognized and characterized as Japanese. Most Japanese art bears the mark of extensive interaction with or reaction to outside forces. Buddhismwhich originated in India and developed throughout Asia, was the most persistent vehicle of influence. It provided Japan with an already well-established iconography and also offered perspectives Japanese Art the relationship between the visual arts and spiritual development. Notable influxes of Buddhism from Korea occurred in the 6th and 7th centuries. The Chinese Tang Japanese Art style was the focal point of Japanese artistic development in the 8th century, while the iconographies of Chinese Esoteric Buddhism were highly influential from Japanese Art 9th century. Major immigrations of Chinese Chan Japanese: Zen Buddhist monks in the 13th and 14th centuries and, to a lesser degree, in the 17th century placed indelible marks on Japanese visual culture. These Japanese Art of impact and assimilation brought Japanese Art only religious Japanese Art but also vast and Japanese Art undigested features of Chinese culture. Whole structures of cultural expression, ranging from a writing system to political structures, were presented to the Japanese. Various theories have thus been posited which describe the development of Japanese culture and, in particular, visual culture as a cyclical pattern of assimilation, adaptationand reaction. The reactive feature is sometimes used to describe periods in which the most obviously unique and indigenous characteristics of Japanese art flourish. For example, during the 10th and 11th centuries of the Heian period, when, for political reasons, extensive contact with China Japanese Art, there was consolidation and extensive development of distinctive Japanese painting Japanese Art writing styles. Similarly, the vast influence of Chinese Zen aesthetic that marked the culture of the Muromachi period — —typified by the taste for ink monochrome painting—was eclipsed at the dawn of the Tokugawa period — by boldly colourful genre and decorative painting that celebrated the blossoming native culture of the newly united nation. The notion of cyclical assimilation and then assertion of independence requires extensive nuancinghowever. It should be recognized that, while there were Japanese Art in which either continental or indigenous art forms were dominant, usually the two forms coexisted. Another pervasive characteristic of Japanese art is an understanding of the Japanese Art world as a source of spiritual insight and an instructive mirror of human emotion. An indigenous religious sensibility that long preceded Buddhism perceived that a spiritual realm was manifest in nature see Shinto. Rock outcroppings, waterfalls, and gnarled old trees were viewed as the abodes of spirits and were understood as Japanese Art personification. This belief system endowed much of nature with numinous qualities. The cycle of the seasons was deeply instructive and revealed, for example, that immutability and transcendent perfection were not natural norms. Everything was understood as subject to a cycle of birth, fruition, death, and decay. Imported Buddhist notions of transience were thus merged with the indigenous tendency to seek instruction from nature. Attentive proximity to nature developed and reinforced an aesthetic that generally avoided artifice. In the production of works of art, the natural Japanese Art of constitutive materials were given special prominence and Japanese Art as integral to whatever total meaning a work professed. When, for example, Japanese Buddhist sculpture of the 9th century moved from the stucco or bronze Tang models and turned for a time to natural, unpolychromed woods, already ancient iconographic forms were melded with a preexisting and multileveled respect for wood. Union with the natural was also an element of Japanese architecture. Architecture seemed to conform to nature. The symmetry of Chinese-style temple plans gave way to asymmetrical layouts that followed the specific contours of hilly and mountainous topography. The Japanese Art existing between structures and the natural world were deliberately obscure. Elements such as long verandas and multiple sliding panels offered constant vistas on nature—although the nature was Japanese Art carefully arranged and fabricated rather than wild and real. The perfectly formed work of art Japanese Art architecture, unweathered and pristine, was ultimately considered distant, cold, and even grotesque. This sensibility was also apparent in tendencies of Japanese religious iconography. While some of those features were retained in Japanese adaptation, there was also a concurrent and irrepressible trend toward creating easily approachable deities. The inherent compassion of supreme deities was expressed through these figures and their iconography. The interaction of the spiritual Japanese Art natural world was also delightfully expressed in the many narrative scroll paintings Japanese Art in the medieval period. Stories of temple foundings and biographies of sainted founders were replete with episodes describing both heavenly and demonic forces roaming the earth and interacting with the populace on a human scale. There was a marked tendency toward the comfortable domestication of the supernatural. The sharp distinction between good and evil was gently reduced, and otherworldly beings took on characteristics of human ambiguity that granted them a level of approachability, prosaically flawing the perfect of either extreme. Even more obviously decorative works such as the brightly polychromed overglaze enamels popular from the 17th century selected the preponderance of their surface imagery from the natural world. The repeated patterns found on surfaces of textiles, ceramicsand lacquerware are usually carefully worked abstractions of natural forms such as waves or pine needles. In many cases pattern, as a kind of hint or suggestion of molecular substructure, is preferred to carefully rendered realism. The everyday world of human endeavour has been carefully observed by Japanese artists. For example, the human figure in Japanese Art multiplicity of mundane poses was memorably recorded by the print artist Hokusai — The quirky and humorous seldom eluded the view of the many anonymous creators of medieval hand scrolls or 17th-century genre screen paintings. Blood and gore, whether in battle or criminal mayhemwere vigorously recorded as undeniable aspects of the human. Similarly, the sensual and erotic were rendered in Japanese Art and uncensorious ways. The reverence and curiosity about the natural extended from botany to every dimension of human activity. In summary, the range of Japanese visual art is extensive, and some elements seem truly antithetical. An illuminated sutra manuscript of the 12th century and a macabre scene Japanese Art seppuku ritual disembowelment rendered by the 19th- century print artist Tsukioka Yoshitoshi can be forced into a common aesthetic only in the most artificial way. The viewer is thus advised to expect a startling range of diversity. Yet, within that diverse body of expression, certain characteristic elements seem to be recurrent: art that is aggressively assimilative, a profound respect for nature as a model, a decided preference for delight over dogmatic assertion in the description of phenomena, a tendency Japanese Art give compassion and human scale to religious iconographyand an affection for materials as important vehicles of meaning. Japanese art Article Media Additional Info. Article Contents. Home Visual Arts. Print Japanese Art Print. Table Of Contents. Facebook Twitter. Give Feedback External Websites. Let us know if you have suggestions to improve this article requires login. External Websites. WebMuseum - Japanese Art and Architecture. James T. See Article History. Top Questions. Get exclusive access to content from our First Edition with your subscription. Subscribe today. Load Next Page.