|Known for||Contemporary art|
Tenmyouya Hisashi (天明屋尚, born 1966 in Tokyo, Japan) is a Japanese contemporary artist.
He supposed his unique Japanese painting "Neo-Nihonga" which revives Japanese traditional paintings as a contemporary art. And in 2000 he also created his new style "Butouha" which shows the resistant attitude for authoritative art system through his paintings. He currently lives and works in Saitama, Japan and is represented by the Mizuma Art Gallery in Tokyo.
In 2010 he proposed a new Japanese art scheme named "BASARA" which is extravagant and extraordinary and embodies a Samurai aesthetic like "Basara" in Nanboku dynasty era and "Kabuki-mono" in the end of Sengoku era.
"Neo Japanese-style painting" is an art concept, founded by Tenmyouya Hisashi in 2001. It is an antithesis to a modern Japanese-style painting. He thinks a modern Japanese-style painting whose role as an opposite concept of a modern Western-style painting ended sticks to use a traditional painting materials such as mineral pigments, glue and ink. On the other hand, Neo Japanese-style painting is a new one, using a new material like acrylic paint etc. Also it refers some features of Japanese art such as a traditional Japanese line as well as its decorative, symbolic and playful ones. As for subjects, it intends to quote a Japanese traditional essence and express real Japanese contemporary art. Neo Japanese-style painting is a suggestion, suspecting the concept of "modern Japanese-style painting" which was made and twisted artificially in Meiji age. And it offers another possibility for a Japanese contemporary art history. Moreover, in Neo Japanese-style painting, classic Japanese paintings and styles before Meiji age are respected and modernized. In short, Neo Japanese-style painting takes over spirits of Ukiyo-e and the other Japanese classic painting and develop them.
"Basara" is an art concept suggested by Tenmyouya Hisashi in 2010. The term "Basara" refers the family of beauty that with innovative unprecedented beauty, including the basara of the Nanbokucho Period, the kabukimono of the end of the Warring States Period, the ukiyoeshi of the end of the Edo period and Japanese recent youth culture with bad and decorative tastes. He regard the culture stands on the opposite end of the spectrum from wabi sabi and is incompatible with Otaku culture. Also he aims that such an aspect connects Japanese culture and history more directly to make an original Japanese art story. As for "Basara", deliberately he avoids too introvert (he thinks of it as one of weaｋness of Japanese art) and often quotes Japanese historical elements. Indeed, "Basara" covers wide range, ancient culture, samurai culture and recent youth culture in Japan. Especially "Basara" focuses on street culture or samurai culture in the end of the Warring States Period or the end of the Edo period which has been estimated low for a long time. Avant-garde artist Taro Okamoto once separated Japanese art into the two categories of "Yayoi-like" art characterized by grace and delicate features, and "Jomon-like" art characterized by dynamic and innovative features. The term "Basara" is an adopted and developed version of Taro's concept of "Jomon-like" art, which is excessive in beauty yet innovative. Implicitly he criticizes a conservative attitude which just receives an established value blindly and avoids taking a risk for a new unique things. He published an art book "BASARA Japanese art theory crossing borders: from Jomon pottery to decorated trucks", which has more details with affluent photos and Japanese and English texts.
Japanese art covers a wide range of art styles and media, including ancient pottery, sculpture, ink painting and calligraphy on silk and paper, ukiyo-e paintings and woodblock prints, ceramics, origami, and more recently manga which is modern Japanese cartoons and comics along with a myriad of other types. It has a long history, ranging from the beginnings of human habitation in Japan, sometime in the 10th millennium BC, to the present-day country.
The Tokyo National Museum or TNM is an art museum in Ueno Park in the Taitō ward of Tokyo, Japan. It is one of the four museums operated by the National Institutes for Cultural Heritage (ja:国立文化財機構), is considered the oldest national museum in Japan, is the largest art museum in Japan, and is one of the largest art museums in the world. The museum collects, preserves, and displays a comprehensive collection of artwork and cultural objects from Asia, with a focus on ancient and medieval Japanese art and Asian art along the Silk Road. There is also a large collection of Greco-Buddhist art. The museum holds over 110,000 Cultural Properties, including 89 National Treasures of Japan, 319 Horyuji Treasures, and 644 Important Cultural Properties. In addition, the museum houses over 3000 Cultural Properties deposited by individuals and organizations, including 55 national treasures and 253 important cultural properties. The museum also conducts research and organizes educational events related to its collection.
Kawanabe Kyōsai was a Japanese artist, in the words of a critic, "an individualist and an independent, perhaps the last virtuoso in traditional Japanese painting".
Shusaku Arakawa was a Japanese conceptual artist and architect. He had a personal and artistic partnership with the writer and artist Madeline Gins that spanned more than four decades. Later in his life, Arakawa and Gins were more commonly associated with architectural projects aimed toward the longevity of human life expectancy.
Nihonga are Japanese paintings from about 1900 onwards that have been made in accordance with traditional Japanese artistic conventions, techniques and materials. While based on traditions over a thousand years old, the term was coined in the Meiji period of Imperial Japan, to distinguish such works from Western-style paintings or Yōga (洋画).
Tarō Okamoto was a Japanese artist noted for his abstract and avant-garde paintings and sculpture.
Takeuchi Seihō was a Japanese painter of the nihonga genre, active from the Meiji through the early Shōwa period. One of the founders of nihonga, his works spanned half a century and he was regarded as master of the prewar Kyoto circle of painters. His real name was Takeuchi Tsunekichi.
Hishida Shunsō was the pseudonym of a Japanese painter from the Meiji period. One of Okakura Tenshin's pupils along with Yokoyama Taikan and Shimomura Kanzan, he played a role in the Meiji era innovation of Nihonga. His real name was Hishida Miyoji. He was also known for his numerous paintings of cats.
Yōga is a term, coined in the Meiji period, to distinguish works from indigenous traditional Japanese paintings, or Nihonga (日本画). It designates a style of paintings by Japanese artists made in accordance with Western (European) traditional conventions, techniques and materials.
Josiah Conder was a British architect who was hired by the Meiji Japanese government as a professor of architecture for the Imperial College of Engineering and became architect of Japan's Public Works. He started his own practice after 1888.
Syoh Yoshida is a Japanese artist of the nihonga and ink painting genre.
Sarah Brayer is an American artist who works in both Japan and the United States. She is internationally known for her poured washi paperworks, aquatint and woodblock prints. In 2013 Japan's Ministry of Culture awarded Sarah its Bunkacho Chokan Hyosho for dissemination of Japanese culture abroad through her creations in Echizen washi. She currently resides in Kyoto, Japan and New York, U.S.A.
Makoto Aida is a contemporary Japanese artist known for his provocative works of manga, painting, video, photography, sculpture, and installation. Though less well-known internationally than Takashi Murakami or Yoshitomo Nara, he is recognized in Japan as one the preeminent figures of Japanese contemporary art.
Takesada Matsutani is a Japanese contemporary mixed-media artist. He was a member of the Gutai group from 1963 to the dissolution of the group in 1972. His well-known work involves a technique of blowing a gust of air into a puddle of vinyl wood glue, creating bulges, bubbles, and drips, then covered by patient strokes of graphite pencil. Matsutani's works are represented in a large number of prestigious art museums and collections around the world. In 2002 the artist, who has lived a large part of his childhood in Nishinomiya, received the Nishinomiya City Cultural Award.
Tomoko Kashiki is a Japanese artist based in Kyoto, Japan. She is known for her paintings, which often portray dreamlike scenes of lone female figures.
Saburo Murakami was a Japanese visual and performance artist. He was a member of the Gutai Art Association and is best known for his paper-breaking performances (kami-yaburi) in which he burst through kraft paper stretched on large wooden frames. Paper-breaking is a canonical work in the history of Japanese post-war art and for the history of performance art. Murakami’s work includes paintings, three-dimensional objects and installation as well as performance, and is characterized by a highly conceptual approach that transcends dualistic thinking and materializes in playful interactive forms and often thematizes time, chance and intuition.
Matsuoka Hisashi was a Japanese painter in the yōga style.
Kawakami Tōgai, originally Hiroshi was a Japanese painter; one of the first to work in the yōga (Western) style.
Yuki Katsura was a Japanese artist whose career spanned from the pre-war to the post-war eras. During her artistic trajectory of six decades, Katsura employed painting, mixed media collage, and caricature responding to aspects of the Japanese society and the established canon of Japanese art during the 20th century. Influenced by both Japanese traditions and Western movements, Katsura engaged with a handful of both figurative and abstract references and typologies including allegories, folkloric iconography, color field painting, as well as real-life scenes of critical events in mid-century Japan. Her diverse approaches, engagement with critical issues, and adherence to personal independence together made her a pioneer of avant-garde art in Japan before and after the war.
Katsuhiro Yamaguchi was a Japanese artist and art theorist based in Tokyo and Yokohama. Through his collaborations, writings, and teaching, he promoted an interdisciplinary avant-garde in postwar Japan that served as the foundation for the emergence of Japanese media art in the early 1980s, a field in which he remained active until his death. He represented Japan at the 1968 Venice Biennale and the 1975 Bienal de São Paulo, and served as producer for the Mitsui Pavilion at Expo '70 in Osaka.