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الفنان بيو الاستفسارحميل PDF
 
Here, a Noh actor in full costume and mask is crossing the wing of a Noh stage. The stage is flanked by pine trees, and pines are also a motif on his kimono. Typically a pine tree is painted on the back wall of Noh stages to represent the tree through which this theatrical form was, by legend, passed down from heaven to mankind. In Japanese culture, the evergreen pine has come to be an important symbol of longevity and steadfastness.<br><br>The practice of laying fukusa over presents placed on wooden or lacquer trays became wide spread during the Edo period, (17th to 19th century). What begun as a functional practice to protect gifts from the elements, took on a decorative life of its own. Well-to-do families owned large numbers of fukusa and often commissioned famous artists of the<br>time to design exclusively for them. The drawings were then created by such techniques as tie-dying, stenciling, slit embroidery, tapestry, painting with embroidery and combinations of all methods. Each time a fukusa was required, it was chosen not only for the occasion but also for the season, the gift itself, and the status of the donor and the recipient. Fukusa were also part of the brides’ trousseau and could be given on the occasion of a wedding. Fukusa were made of square or oblong pieces of silk, lined and often embellished with tassels, and sometimes bearing the monogram or family crest on the reverse. Etiquette decreed that the fukusa were not usually to be considered part of the gift itself and were to be returned covering a token gift or an acknowledgement of the gift. However, some recipients such as bureaucrats, who accepted gifts from people currying favors, elected to keep the fukusa along with the gifts they covered, thus adding to their own store of gift covers.
Here, a Noh actor in full costume and mask is crossing the wing of a Noh stage. The stage is flanked by pine trees, and pines are also a motif on his kimono. Typically a pine tree is painted on the back wall of Noh stages to represent the tree through which this theatrical form was, by legend, passed down from heaven to mankind. In Japanese culture, the evergreen pine has come to be an important symbol of longevity and steadfastness.<br><br>The practice of laying fukusa over presents placed on wooden or lacquer trays became wide spread during the Edo period, (17th to 19th century). What begun as a functional practice to protect gifts from the elements, took on a decorative life of its own. Well-to-do families owned large numbers of fukusa and often commissioned famous artists of the<br>time to design exclusively for them. The drawings were then created by such techniques as tie-dying, stenciling, slit embroidery, tapestry, painting with embroidery and combinations of all methods. Each time a fukusa was required, it was chosen not only for the occasion but also for the season, the gift itself, and the status of the donor and the recipient. Fukusa were also part of the brides’ trousseau and could be given on the occasion of a wedding. Fukusa were made of square or oblong pieces of silk, lined and often embellished with tassels, and sometimes bearing the monogram or family crest on the reverse. Etiquette decreed that the fukusa were not usually to be considered part of the gift itself and were to be returned covering a token gift or an acknowledgement of the gift. However, some recipients such as bureaucrats, who accepted gifts from people currying favors, elected to keep the fukusa along with the gifts they covered, thus adding to their own store of gift covers. Here, a Noh actor in full costume and mask is crossing the wing of a Noh stage. The stage is flanked by pine trees, and pines are also a motif on his kimono. Typically a pine tree is painted on the back wall of Noh stages to represent the tree through which this theatrical form was, by legend, passed down from heaven to mankind. In Japanese culture, the evergreen pine has come to be an important symbol of longevity and steadfastness.<br><br>The practice of laying fukusa over presents placed on wooden or lacquer trays became wide spread during the Edo period, (17th to 19th century). What begun as a functional practice to protect gifts from the elements, took on a decorative life of its own. Well-to-do families owned large numbers of fukusa and often commissioned famous artists of the<br>time to design exclusively for them. The drawings were then created by such techniques as tie-dying, stenciling, slit embroidery, tapestry, painting with embroidery and combinations of all methods. Each time a fukusa was required, it was chosen not only for the occasion but also for the season, the gift itself, and the status of the donor and the recipient. Fukusa were also part of the brides’ trousseau and could be given on the occasion of a wedding. Fukusa were made of square or oblong pieces of silk, lined and often embellished with tassels, and sometimes bearing the monogram or family crest on the reverse. Etiquette decreed that the fukusa were not usually to be considered part of the gift itself and were to be returned covering a token gift or an acknowledgement of the gift. However, some recipients such as bureaucrats, who accepted gifts from people currying favors, elected to keep the fukusa along with the gifts they covered, thus adding to their own store of gift covers.
ممثل نوهفترة ميجي (1868-1912)27 1/2 × 25 بوصة(69.85 × 63.5 سم) تطريز من الحرير بالذهب وخيوط الحرير
الاصل
هيذر جيمس فأين أرت ، كاليفورنيا
هنا، ممثل نوه يرتدي زيًا كاملًا وقناعًا يعبر جناح مسرح نوه. يحيط بالمسرح أشجار الصنوبر، كما أن أشجار الصنوبر هي أيضًا أحد الزخارف على كيمونوه. عادةً ما يتم رسم شجرة صنوبر على الجدار الخلفي لمسارح نوه لتمثيل الشجرة التي، حسب الأسطورة، انتقلت من خلالها هذه الشكل المسرحي من السماء إلى البشرية. في الثقافة اليابانية، أصبحت شجرة الصنوبر دائمة الخضرة رمزًا مهمًا للطول العمر والثبات.

انتشرت ممارسة وضع الفوكوسا فوق الهدايا الموضوعة على صواني خشبية أو مطلية بالورنيش خلال فترة إيدو (القرن السابع عشر إلى القرن التاسع عشر). ما بدأ كممارسة وظيفية لحماية الهدايا من العوامل الجوية، أصبح له دور زخرفي خاص به. كانت العائلات الثرية تمتلك أعدادًا كبيرة من الفوكوسا، وكثيرًا ما كانت تكلف فنانين مشهورين في ذلك الوقت بتصميمها حصريًا لها. ثم كانت الرسومات تُصنع باستخدام تقنيات مثل الصباغة بالربط، والاستنسل، والتطريز بالشق، والنسيج، والرسم بالتطريز، ومزيج من جميع هذه الأساليب.
في كل مرة كانت هناك حاجة إلى فوكوسا، كان يتم اختيارها ليس فقط حسب المناسبة، ولكن أيضًا حسب الموسم والهدية نفسها ومكانة المانح والمتلقي. كانت الفوكوسا أيضًا جزءًا من جهاز العروس ويمكن تقديمها بمناسبة الزفاف. كانت الفوكوسا مصنوعة من قطع مربعة أو مستطيلة من الحرير، مبطنة وغالبًا ما تكون مزينة بشرابات، وأحيانًا تحمل حرفًا واحدًا أو شعار العائلة على ظهرها. تنص قواعد الآداب على أن الفوكوسا لا تعتبر عادة جزءًا من الهدية نفسها ويجب إعادتها لتغطي هدية رمزية أو شكرًا على الهدية. ومع ذلك، فإن بعض المتلقين، مثل البيروقراطيين، الذين قبلوا هدايا من أشخاص يسعون إلى كسب مودتهم، اختاروا الاحتفاظ بالفوكوسا مع الهدايا التي غطتها، مما أضاف إلى مخزونهم من أغطية الهدايا.
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