Related Resources Japanese Pottery: www.youtube.com/watch?v=9Xu3WymR6oc The Grand Shrine of Ise: www.isejingu.or.jp/en/ Japanese Aesthetics General Information: ntieva.unt.edu//download/teaching/Curr_resources/mutli_culture/Japan/Aesthetics/Japanese%20Aesthetics_Wabi-Sabi_Tea%20Ceremony.pdf plato.stanford.edu/entries/japanese-aesthetics/ This presentation was so cool! I was nervous that it would be boring because it seemed like more of a strictly scholarly lecture than the loose and conversational lectures we have done in the past, but it ended up being pretty interesting. I really liked how I could connect it to what we’re learning in Global right now about Japanese culture; it augmented the austerity and wholesomeness that permeates Japanese society. And, I remember from last year the lecture that Alex Norman gave, in which she talked about her fascination with wabi-sabi. Reflecting on that lecture with my current amount of knowledge makes the message more impactful and concrete.
Honestly, I’ve always found Japanese art to be particularly attractive. Sometimes a little messy—and by messy I mean without the harsh edges and rigidity of some art movements—but soothing to look at. Tranquilizing. And now that I understand the Japanese principles of celebrating the mundane, imperfect, despondent aspects of life, I get why I am drawn to Japanese art: the content is so powerful that it extends beyond the confines of the artwork and captures the viewer’s attention; the stillness is so powerful that it relaxes the mind; the rawness is so powerful that it moves the subconscious to a state of profound silence. (I feel like I am reading way too much into this, but I thoroughly enjoy thinking deeply about these topics. Sometimes making connections that are tenuous seem substantial is the most helpful way to grasp a concept.) I find Tanizaki’s notions particularly thought-provoking, as I understand where he is coming from in his desire for an uncomplicated and subliminally melancholy society. However, I feel like the need for pitch-black ceramics and no electricity is a bit extreme; Confucian principles (Chinese philosophy, but still relevant) teach the significance of balance in life, no matter what the extremes to either side may be. I think that Tanizaki overlooked the fact that the lifestyle he promoted was an extreme aversion to frivolous desires—an extreme nonetheless—in his bemoaning of the decadent extreme that he feared was the result of Western immersion. Basically, I’m super grateful for this experience. I feel better knowing that I was presented with this lecture as a resource for both future Global and Art lessons. I might even consider picking a Japan-related topic for my two-page spread this quarter… maybe something to do with Tanizaki, or traditional versus modern Japanese architecture (which I would obviously narrow down and put into question form). I am looking forward to considering wabi, sabi, and yugen aesthetic principles in future projects.
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I made a lot of progress today, probably because I finally realized how close the deadline is and how little I had done. Working with silver point isn't much different than just using a pencil; however, it does have a smoother texture and requires more pressure for shadows and heavy lines. I ended up just using white conte crayon for the highlights, which worked out pretty good. I'm trying to figure out how to get the highlights bright enough-- the conte crayon rubs off the paper easily, so I've done a lot of layers. I definitely messed up the proportions of the face, but I can try to mend that.
More info about Domenico Ghirlandaio (required): www.domenico-ghirlandaio.org/biography.html www.metmuseum.org/art/collection/search/436492 QUESTIONS: 1. How does the content of Ghirlandaio's artwork reflect the popular style of his time? 2. Observe the softness of Ghirlandaio's figures in his portraits, which contrasts to the sharp delineation of value in his silver point drawings. Which do you prefer? Why? 3. What is the significance of Ghirlandaio's frescoes (think about biblical and mythological references)? How do they relate to the time period in which he created them? METAL POINT: OVERVIEW
METAL POINT: IN-DEPTH
www.youtube.com/watch?v=vQaTEOXk4JA www.youtube.com/watch?v=4-1TXg9yUK4 Sources for BOTH Domenico Ghirlandaio and metal point: www.nga.gov/collection/artist-info.1336.html en.wikipedia.org/wiki/Domenico_Ghirlandaio www.domenico-ghirlandaio.org/ www.britannica.com/biography/Domenico-Ghirlandaio www.artistsandillustrators.co.uk/how-to/Drawing/1843/how-to-do-a-silverpoint-drawing www.apollo-magazine.com/silver-linings-the-art-of-metalpoint-drawing/ It's been awhile since my last update. I definitely meant to write something on a weekly basis, but, you know, life. In the past few weeks, I've made some progress with the content of my sketchbook, adding additional observational drawings. I've even completed a series of five drawings that focus on the theme of "hair". Also, I made an ink drawing of a fire truck for my dad's birthday. I'm pleased with how it turned out, especially since I made the conscious decision to not use a ruler. So, I am aware that my lines are slightly crooked and the perspective of the front bumper is skewed, but it's progress.
Today I began my preliminary outline for the "Old Masters" project. I chose to use Head of an Old Woman Wearing a Hood by Domenico Ghirlandaio. The medium is silver point, which I had previously never heard of, but I soon learned is just a stylus with silver at the tip. The silver rubs off onto the paper, as long as you use a special ground. Basically, it's tedious and time-consuming, but the result is amazing in detail and precision. I'm incredibly nervous and excited. I didn't get a whole lot done, but at least I've got something to work with. It's very faint, but in the right photo you can see that I started to do a sketch of the most important lines. I'm also pretty content with how well the ground I mixed matches the original photo. I don't like that it appears kind of streaky on my paper, but I don't think it will be a big deal once the silver point and whatever medium I use for the highlights goes on. Hopefully I can get in to work on it some more after school or during lunch!
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