Painting in Japan – Victoria and Albert Museum

Sandra Grantham (Paper Conservation Research Student, RCA/V&A Conservation Course) shares her experiences and discoveries from her time in Japan studying  traditional Japanese painting techniques and materials.

Despite being trained as a painter in the West, Sandra had to re-learn all rudimentary techniques again- from holding the brush to sizing paper, preparing pigments and drawing lines, in 3 months! These are all pretty much taken for granted for us painting with modern pigments from tubes and pre-made ink pots.

Click on the link below to read the full article from V & A.

The Nihonga mosha group. Photography by Aya-san

 

Conservation Journal, July 1997, Issue 24.

Painting in Japan – Victoria and Albert Museum.

 

Artist Feature: A Gentleman in Kyoto- Akazawa Yoshinori 赤沢嘉則

Akazawa Yoshinori lives and works in Kyoto, Japan.

Artist Feature: A Gentleman in Kyoto- Akazawa Yoshinori 赤沢嘉則

My first impression of Akazawa was that he was very modest and gentle. When I met him at his atelier in Kyoto, he spoke little but with great thought behind each word.

Hailing from an artesan family where his father is currently the 4th Roseki Akazawa, it seemed befitting that he would pursue a career in the arts. Akazawa studied Japanese Painting (Nihonga) at Kyoto City University of Arts, one of Japan’s oldest and most traditional art university. After his graduation in 1995, he continued his studies in ceramics at Kyoto Municipal Institute of Industrial Research.

In 1999, he held his first solo exhibition in Kyoto exhibiting the Nightscape夜 景series. He worked on them upon return from a trip to India. Back in Kyoto, he was again reminded of how beautiful the Japanese nightscape was and set out to work on the series.

People’s Night and Moon人々の夜と月 (1993)

Arguably one of his best works, People’s Night and Moon人々の夜と月 (1993) depicts places and things close to his heart- the schools he studied in, friends’ houses where he hung out at, shrines and mountains that have been drawn from his hometown in Kyoto. The work is a remarkable comment on the harmonious relationship between nature seen through the vast expanse of sky and mountains and the sprawling urban landscape. Street lights lead you into the background and along the length of the painting, ever so subtly yet assertively reminding us what is man-made and what is from nature. When I saw this work, I felt the harmony that has managed to co-exist so well, particularly in the Japan that I know and now miss.  In 2005, the artwork was featured on the cover of Plato’s Cosmology and Its Ethical Dimensions by Dr. Gabriela Carone. On the work, she commented, “I was struck by the intensity and depth of the painting. It seemed to capture the cosmic dimension and its integration with the human sphere very powerfully. “

Nova, Akazawa Yoshinori

Since his first solo exhibition in 1999, Akazawa has participated in group exhibitions all over Japan including several more solo exhibitions. His ceramic works have also taken him to international Biennales in Austria and Slovenia and are collected by the Museum of International Ceramics of Faenza, Italy, and Kapfenberg Museum, Austria. Back in his home country, Akazawa exhibits regularly at the annual Japanese Traditional Art Crafts of Kinki area exhibition. He has also appeared on TV and conducts workshops on Nihonga.

Fusuma Painting, Soken-ji, Azuchi Castle Ruins

In 2007, he was commissioned to work on a fusuma painting 襖絵 (traditional Japanese sliding door that partitions rooms )at Soken-ji 摠見寺currently located at Azuchi Castle ruins in Shiga prefecture. The result of the laborious two-year project is a stunning painting of light cherry ink blossoms 薄墨桜. Videos capturing Akazawa at work reveal his sensitive and contemplative approach. Each stroke is carefully planned and gently applied. He then steps back to assess what he had just done. This is repeated again countless times with genteel patience.

Every Nihonga artist studies nature and animals as part of their academic training.  In his flower series, Akazawa shows strength and mastery that can only be attained after diligently observing and sketching meticulously from nature.

Hatsuse 初瀬(Cherry tree at Hase temple, Nara Japan) is an example of attention to detail in depicting a cherry tree in bloom. Akazawa has treated each blossom meditatively and as though they were uniquely different. The end-result is simply breathtaking.

Hatsuse 初瀬

Akazawa’s recent activities centre around ceramic-making and understandably so as he has been enjoying international recognition and success with his works.

It has been a long time since that hot Summer day at his atelier. As we said goodbye, he gave me a small Nihonga painting that I have kept on every desk in every country that I have moved to.  He might not have known this but for most people this side of the world, it is their first encounter with Nihonga.

Akazawa’s winning ceramic works from the 57th Premio Faenza are on exhibition at the MIC (Museo Internazionale delle Ceramiche in Faenza) until September 25, 2011. Thereafter, the exhibition will travel to Japan to the Institute Italian di Cultura di Tokyo Exhibition Hall from September 2 – 23.  From September 17 to October 30, his winning work, Nova, will be exhibited as part of the 12th International Ex-tempore of Ceramics Piran 2011 at Galerija Herman Pečarič.

Akazawa can be reached at his website and email.

(Eve Loh)

Click here for French translation (Valerie Eguchi)

Continue reading

Playing in Edo, Moriyama Tomoki, Solo Exhibition // 森山知己個展 江戸にあそぶ 

Playing in Edo, a Solo Exhibition by Moriyama Tomoki


Art Garden, Okayama Prefecture, Japan
19 August – 4 September 2011
11:00 – 18:00 (Tuesday. Closed)
http://www5d.biglobe.ne.jp/~agarden/

In this solo exhibition, artist Moriyama reveals his latest dragon ink paintings and other works in an exploration of the Rimpa tradition.

How did Rimpa painters in Edo depict their subjects? Could Rimpa master, Ogata Korin, have painted his red and white plum blossoms and flowing streams a different way? Inspired by Research Professor Baba (Kibi International University), “When you actually try to draw something, what was once invisible starts to become apparent”, Moriyama embarked on attempts to discover and meet ‘the invisible’.

The result is a lovely play on subjects revealed on folding screens laid with silver leaf and painted with sea creatures, alongside intricate flowing streams and Moriyama’s magnificent dragon ink paintings.

アートガーデンで「江戸にあそぶ」と題して個展を開きます。
会期:平成23年8月19日(金)〜9月4日(日)
11時〜6時 定休日は毎週火曜日
場所:岡山市北区富町1−8−6
電話 086−254−5559
Art Garden Web http://www5d.biglobe.ne.jp/~agarden/

今回は水墨の龍や琳派の手法などを試して描いています。光琳の紅白梅図屏風、あの流水は、もしかしたらこうして描いたのではないか?吉備国際大学の馬場先生の研究にも刺激を受けました。「実際に試して描いてみる事で見えてくる事もある」、今回もドキドキする様な出会いがありました。

この他、銀箔背景に海の生き物を描いた屏風や、水墨表現による龍など発表予定です。ご高覧いただけましたら幸いです。

なお申し訳ない事に会期も長く会場に毎日というわけにも行きません。
もしおいでのおり、不肖モリヤマと技法・材料の話などご希望の方、また久々なので顔など見たいとの方がおられましたら事前にご連絡いただけましたらありがたいです。
可能なら予定調整など極力どうにかしたいとは思っていますが、、、、、。

流水の描画方法検証他、出品作紹介は以下リンクよりどうぞ。
江戸にあそぶ 個展の紹介他

Japanese Painting (Nihonga) Classes in New York // やさしい日本画教室 (ニューヨーク)

Learn Nihonga with Maria Tanikawa  in New York.

Maria is a painter and instructor based in New York. Born in Japan and a graduate of Tama Art University, she moved to New York in 2007. Her artwork is based on Nihonga and she primarily works with sumi-ink, dry jewel pigments and metal leaf (gold, silver, copper and aluminum).

Group Classes start: Wednesday 11AM-1PM at Nippon Club
9/28、10/5、10/12、10/19、10/26、11/2、11/9、11/16、11/23、11/30

The Nippon Club Culture Courses
145 W 57th St.
New York, NY 10019
Phone: (212) 581-2223

Please contact Maria for more information.

Nihonga Classes in Kochi Prefecture // 高新文化教室 日本画講座


Artemis, Araki Yoichi.

Try Japanese Painting (Nihonga) in Kochi with artist and Nihonga instructor, Araki Yoichi.

Beginners and Experienced Students are welcome to join.
Every Tuesday, 13:00 – 15:00, 24 000Yen, 6month course (20 – 22 lessons)
Koshin Bunka Kyoshitsu

Please bring H,2B and HB pencils, eraser, sketchbook and colour pencils for beginner students.
Experienced students may bring pigments and materials for Nihonga painting.

Foundation Course for Beginners:

Kochi City Culture Plaza
Every Saturday Afternoon, for 8 lessons, 4000 Yen (plus additional 2000Yen for basic materials)

For more details, please email Araki Yoichi at: nihonga [at] live.com

日本語

・高新文化教室 日本画講座(Koshin Bunka Kyoshitsu) http://www.kochi-sk.co.jp/bunka/
講座紹介:http://www.kochi-sk.co.jp/bunka/kochi/kaiga/kaiga01.htm

・2011年秋の市民学校、基礎の日本画講座 http://www.bunkaplaza.or.jp/jishu/11/shimingakkou/1102.html

Japanese Painters who Portrayed India

Introduction

Since the late 19th century, India and Japan have shown interests in each other, beginning with Swami Vivekananda’s visit in 1893. Continuing well into the 20th and 21st century, further visits by Japanese artists in particular, have ensued.

The following article by Anindya Kundu documents some of the Japanese artists who have visited India and portrayed her in their artwork.

Interestingly, the exchanges were most frequent and strongest during the Tagore-Taikan period. Most of the artists documented below were Nihonga artists.

Continue reading

Private Nihonga Classes in New York // やさしい日本画教室 (ニューヨーク)

Learn Nihonga with Maria Tanikawa  in New York.

Maria is a painter and instructor based in New York. Born in Japan and a graduate of Tama Art University, she moved to New York in 2007. Her artwork is based on Nihonga and she primarily works with sumi-ink, dry jewel pigments and metal leaf (gold, silver, copper and aluminum).

Student’s first Nihonga work

Beginners are welcome and private classes can be arranged. Please contact Maria for more information.

** Group classes are now on Summer break so please check with Maria when they commence again.

日本語の方