Images d'Orient
"The Wave", Hokusai, 1831 From the 17th century, Japan witnessed the burgeoning of many flourishing schools of painting. The art of wood-engraving, in particular, reached a consummate level of expertise with the great masters of the late 18th and early 19th centuries - artists such as Uta...
| Otros Autores: | , |
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| Formato: | DVD |
| Idioma: | Francés |
| Publicado: |
[Paris] : [Issy-les-Moulineaux]:
Ed. Montparnasse ; Arte France développement
cop. 2005
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| Colección: | Palettes / une série écrite et réalisée par Alain Jaubert
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| Materias: | |
| Acceso en línea: | Ver más información |
| Ver en Universidad de Navarra: | https://innopac.unav.es/record=b2439614x*spi |
| Sumario: | "The Wave", Hokusai, 1831 From the 17th century, Japan witnessed the burgeoning of many flourishing schools of painting. The art of wood-engraving, in particular, reached a consummate level of expertise with the great masters of the late 18th and early 19th centuries - artists such as Utamaro, Hiroshige and Hokusai. "The Wave" is an engraving from the series "Thirty-six Views of Fuji". Although the sacred mountain is the central theme of the series, in this particular composition it only appears as a small snowy peak on the distant horizon behind the storm. Endlessly copied and parodied, "The Wave" is remarkable for the way in which it captures a single moment, and for the perfection of the composition and framing of the image. In Hokusai, the technique of colour engraving from wood-cuts attains an exceptional degree of precision, combined with great boldness of composition - his form, motifs, and colours are all remarkable. A master painter and draughtsman, he is able to capture the harmony of nature, its naive poetry, before handing over to the engraver and the printer who will bring the composition to life. From a philosophical point of view, he endeavours to seize the moment when fate hangs in the balance. These cheap, serial images were to have a powerful impact on Western painters. Monet, Whistler, Degas, Van Gogh, Cézanne, Gauguin, Bonnard, Klimt and many others borrowed from the Japanese their flat, pure colours which made no attempt to reproduce contours, their skilful framing of images, their interest in simple, everyday things, their strange notions of perspective, the concept of series, and their feeling for landscape "Jingting Mountains in Autumn", Shitao (Zhu Ruoji), 1671, (Musée Guimet (National Museum of Asian Art), Paris) This mountain landscape painted in Indian ink on rice-paper glued onto a silk scroll, is a consummate blend of spontaneity and technical skill. Shitao, a scion of the imperial Ming family, spent his youth in hiding in monasteries. Shitao, whose work is suffused with Buddhist spirituality, was one of the most talented painters and greatest art theorists of his time. His painting, which cannot be dissociated from the discipline of calligraphy, uses the simplicity of line and the pure white of the paper to express a whole philosophy. It is the fruit of contemplation and spiritual communion with the real world, and aims at plain, pale, minimalist composition. But beneath the apparent simplicity lies a world of secret connections, allusions and hidden figures, which has to be studied and deciphered before the painting can really be understood The Gardens of Paradise: Persian miniature From the Bagdad School (14th c.) to the Qadjar School (19th c.) Persian painting has always preserved an extraordinary vitality. A court art essentially involving book illustrations, it had its schools, its royal ateliers, its secret techniques, its great masters. Manufacturers of stiff, polished paper, calligraphers, grinders and mixers of rare colors (such as the ultramarine blue mixed with lapis lazuli from the Bahakhshân mountains in Afghanistan), miniaturists, master bookbinders, an entire hierarchical chain took part in the making of precious manuscripts. The focus of this film is one of the finest works from the department of oriental manuscripts at the Bibliothèque Nationale de France, a collection of "Five Poems" ("Khamse") by the great 12th century Persian poet Nezâmi. This copy, the work of the calligrapher 'Abd al Djabbâr with illustrations by a painter of the Safavide School, Haydar Qoli Naqqâsh, dates from the years 1620-1624 C.E. The examination of papermaking techniques, make-up, calligraphy, drawing and painting affords an opportunity to discover a fascinating civilization. It developed independently between the Asiatic cultures and the Western cultures and was deeply marked by the principles of Islam. But the texts of Nezâmi, impregnated as they often are with mysticism, are for the most part profane: poems of passionate love or epics whose finest scenes were magnificently rendered by the painters to the delight of their powerful masters. They have resisted the influences of western art by preserving a traditional approach to space and color. This "alternative" vision makes for the charm of these paintings |
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| Descripción Física: | 1 DVD (090 min.) : son., col. ; 12 cm |
| Público: | Para todos los públicos |
