(3) Text of the nUT exhibition review.
(a) "Has there ever been a more beautiful autumn than the one now on the wane in New York City, with our parks still looking like cloth-of-gold, and flocks of southbound geese calling over our rivers? We know there were just such seasons in centuries past in Japan. Artists tell us so. In a 16th-century hanging scroll, the painter Shikibu Terutada depicts fall leaves and flowers as last-chance blasts of color."
(i) cloth of gold (n): "cloth woven from silk threads interspersed with gold"
www.collinsdictionary.com/dictionary/english/cloth-of-gold"
(ii) SHIKIBU Terutada 式部 輝忠 (生没年不詳; 16世紀の水墨画家) ja.wikipedia.org
(b) "Kaikei, the Donatello of Japanese art"
Donatello
https://en.wikipedia.org/wiki/
(c 1386 – 1466; a sculptor from Florence)
(c) "In a wispy 15th-century hanging scroll by the little-documented artist Bokurin Guan, we see a cicada clinging, as if half-frozen, to a grapevine as autumn frosts set in."
Cicada on a Grapevine. By Bokurin Guan.
burkecollection.org/catalogue/115-cicada-on-a-grapevine
* Boku-rin Gu-an 墨林 愚庵
(d) "And an overarching theme of the paintings in the Burke collection is time, an element that different cultures approach in very different ways. Western classical and medieval Christian art seem bent on arresting time, freezing it at a perceived moment of physical perfection or spiritual resolution. Japanese art, by contrast, repeatedly marks time’s passage, records the trace — even clocks the movement — of change from season to season, moment to moment, mood to mood."
This is represented by 四季花鳥図屏風.
(e) "And in Ito Jakuchu’s 1755 painting “White Plum Blossoms and Moon,” molecular goes cosmic. The flowering tree is a galactic explosion, anticipating the eruptive art of visionary naturalists like Samuel Palmer and Charles Burchfield."
(i) Samuel Palmer
https://en.wikipedia.org/wiki/Samuel_Palmer
(1805 – 1881; English)
(ii) Charles E Burchfield
https://en.wikipedia.org/wiki/Charles_E._Burchfield
(1893 - 1967' American)
(e)
(i) "Change is implicit in language. It’s the subject of poems, like this one, written on a 15th-century calligraphic scroll:
Wild grasses spread out
far across the plains.
Each year they wither,
only to flourish again."
(ii) 「離離原上草一歳一枯榮」 （白居易『草』より）
Couplet from the Chinese Poem “Grasses” by Bai Juyi [772-846]
Artist: Motsurin Jōtō 没倫 紹等 [臨済宗の (禅) 僧] (Bokusai) (Japanese, died 1491)
* * *
Credit Line: Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015"
http://www.metmuseum.org/collect ... nline/search/670887
(iii) 没倫 紹等: also known as Bokusai 墨斎
(iv) "白居易『草』より," where より" us Japanese which means "according to."
(v) 賦得古原草送別
https://zh.wikipedia.org/zh-tw/赋得古原草送别
(作於貞元三年（公元787年）)
(f) "You get a hint of this in a large six-panel screen called 'Women Contemplating Fans,' probably painted in the 17th-century by an artist whose name is now lost. The format is much like “Willows and Bridge,” but with people added: a crowd of stylishly robed and coifed women who are tossing fans into an almost-black river below. The fans, we can see, are beautifully decorated, with hand-painted flowers and poems, or views of Mount Fuji, or scenes from 'The Tale of Genji 源氏物語.' But they’re summer accessories, superfluous now that autumn has come. Besides, they’re last year’s models. So they drop down, and drift away."
"Women Contemplating Fans"
http://burkecollection.org/catal ... ating-floating-fans
(g) "There’s one such fan in the show, preserved as a hanging scroll. It was painted by the Edo artist YOSA Buson (1716-1783) with a scene from Matsuo Basho’s 'The Narrow Road to the Deep North,' a diaristic account of a writer’s arduous trek to far northern Japan and back. Published in 1694, the book was a hit, and Buson both quotes and illustrates a passage from it on his fan. In it, Basho describes coming across a village monk who lived a secluded and unchanging life in a gated yard under a chestnut tree. It was the life Basho yearned for, but felt he had to earn, first by his journey, and then by writing it down. For him, the writing-it-down part worked; it completed the quest, gave him peace. It let him stop."
(i) "Scene from Oku no hosomichi (奥の細道)
ARTIST Yosa Buson (与謝蕪村; 1716–1783)
Edo period, ca. 1780
Folding fan, mounted as a hanging scroll; ink and color on paper
* * *
Donated to The Metropolitan Museum of Art, New York by the Mary and Jackson Burke Foundation in 2015"
http://burkecollection.org/catal ... om-oku-no-hosomichi
(i) YOSA Buson
(ii) Matsuo Bashō
https://en.wikipedia.org/wiki/Matsuo_Bashō
(1644 – 1694; born 松尾 金作; one of his pen names was Bashō 芭蕉 [banana]; "writing the final version in 1694 as The Narrow Road to the Interior (奥の細道 Oku no Hosomichi). The first edition was published posthumously in 1702")
(h) "to quote the Japanese scholar Nobuyuki YUASA 湯浅 信之 [1932- ], a monument 'set up against the flow of time.' " |
发表于 11-14-2015 16:03:18
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