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JAPONÉS

$9,500

BIO DEL ARTISTA CONSULTARDESCARGAR 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.
Actor de teatro NohPeríodo Meiji (1868-1912)27 1/2 x 25 pulgadas(69,85 x 63,5 cm) Bordado en seda con hilo de oro y seda
Procedencia
Heather James Fine Art, California
Aquí, un actor de teatro Noh con traje y máscara completos cruza el ala de un escenario Noh. El escenario está flanqueado por pinos, y los pinos también son un motivo en su kimono. Normalmente, se pinta un pino en la pared trasera de los escenarios Noh para representar el árbol a través del cual, según la leyenda, esta forma teatral fue transmitida del cielo a la humanidad. En la cultura japonesa, el pino, siempre verde, se ha convertido en un importante símbolo de longevidad y firmeza.

La costumbre de colocar fukusa sobre los regalos colocados en bandejas de madera o lacadas se extendió durante el periodo Edo (siglos XVII al XIX). Lo que comenzó como una práctica funcional para proteger los regalos de los elementos, adquirió una vida decorativa propia. Las familias acomodadas poseían un gran número de fukusa y a menudo encargaban a artistas famosos de la época
diseños exclusivos para ellas. Los dibujos se creaban mediante técnicas como el teñido anudado, el estarcido, el bordado con hendiduras, el tapiz, la pintura con bordado y combinaciones de todos estos métodos. Cada vez que se necesitaba un fukusa, se elegía no solo para la ocasión, sino también para la estación del año, el regalo en sí y el estatus del donante y del destinatario. Los fukusa también formaban parte del ajuar de las novias y podían regalarse con motivo de una boda. Los fukusa estaban hechos de piezas cuadradas u oblongas de seda, forradas y a menudo adornadas con borlas, y en ocasiones llevaban el monograma o el escudo familiar en el reverso. La etiqueta dictaba que los fukusa no se consideraban parte del regalo en sí y debían devolverse cubriendo un regalo simbólico o un agradecimiento por el regalo. Sin embargo, algunos destinatarios, como los burócratas, que aceptaban regalos de personas que buscaban favores, optaban por quedarse con los fukusa junto con los regalos que cubrían, aumentando así su propia colección de envoltorios para regalos.
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