Vodič za studentska umetnička dela
Autorska prava Ovo delo je u javnom vlasništvu. Mori Sosen je preminuo/la 1821. godine; autorska prava traju 70 godina nakon smrti umetnika, pa su prestala 1891.
U kontekstu
Silkies — Mori Sosen
Originalne dimenzije su 86 × 130 cm (visina × širina), prikazane ovde pored odrasle osobe prosečne visine.
Gornji red: godine. Donji red: starost umetnika na početku i na kraju svakog perioda — 0 u rođenju, 74 u smrti.
Naslikano kada je umetnik imao 60 godina. Umetnik je doživeo 74. 0 od ukupno 3 datiranih dela ovog umetnika u našem katalogu nastalo je ranije.
Osenčeno: životni vek umetnika Mori Sosen (1747–1821) ▲ ovo delo, 1807 svaka datirana slika, deceniju po deceniju
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Glavna boja
Driftwood #a48551
Katalogizovana paleta
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Deset vodećih zemalja
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Zajedno, ova dela zauzimaju 100,0% ukupne pažnje koju su slike ovog umetnika privukle tokom poslednjih dvanaest meseci. Katalog sadrži 6 dela ovog umetnika, od kojih je 1 pregledano barem jednom. Ova slika zauzima 1 mesto među njima, sa 100,0% te pažnje. Isto važi i za pojedinačne mesece
Barovi mere pažnju, ne kvalitet. Odaberite rad na vrhu i ovaj: navedite jednu stvar koja bi sliku mogla učiniti slavnom pored toga koliko je dobro naslikana.
O ovom umetničkom delu
Silkies — Mori Sosen
This tour de force of avian painting captures the subtle coloration and soft plumage of a cluster of seven silkies, a breed of chicken known for its fluffy, fur-like feathers. Also striking is the dark blue flesh of their wattles and earlobes, and the presence of five toes, rather than four, as most chickens have. In Japanese they are called ukokkei (Chinese: wuguji), which literally means "chickens with raven-black bones." They were raised to be eaten, and in China soup made from silkies is believed to have curative properties. Marco Polo, during his travels in Asia in the thirteenth century, wrote of encountering such peculiar furry chickens: "There is a strange thing there which I needs tell you ... they have a kind of fowls which have no feathers, but hair only, like a cat’s fur."
Umetnik i muzej
Mori Sosen (森 狙仙, 1747 – August 18, 1821) stands as a pivotal figure in Japanese art history, particularly renowned for his captivating depictions of monkeys. Born during the late Edo period, he belonged to the esteemed Shijō school, a lineage deeply rooted in the traditions of Kano painting while simultaneously embracing innovative stylistic elements. His life and work offer a fascinating glimpse into the cultural landscape of 18th-century Japan – a time of relative peace, burgeoning trade, and evolving artistic sensibilities. While his origins remain somewhat shrouded in local lore, with speculation pointing to Osaka, Nagasaki, or Nishinomiya, Mori Sosen ultimately established himself as a prominent artist primarily based in Osaka, a thriving center for commerce and culture.
Sosen’s artistic journey began under the tutelage of Katsube Joshunsai, a leading figure within the Kano school. This foundational training instilled in him a deep understanding of traditional Japanese painting techniques – meticulous brushwork, vibrant colors derived from mineral pigments, and a focus on idealized representations of nature and subjects. However, Sosen’s artistic spirit quickly transcended mere imitation. He developed a distinctive style characterized by a remarkable sensitivity to detail, particularly when it came to capturing the nuanced expressions and behaviors of animals. This fascination with the natural world, especially monkeys, would become his defining characteristic.
The true brilliance of Mori Sosen’s oeuvre lies in his prolific and remarkably detailed portrayals of monkeys – specifically, the Japanese macaque (Macaca fuscata). These weren't simply depictions of animals; they were imbued with a profound sense of personality and observation. Robert van Gulik famously described Sosen as “an undisputed master” of this subject matter, recognizing his ability to capture not just their physical appearance but also their social dynamics, playful interactions, and individual quirks. His paintings are remarkably alive, conveying a sense of immediacy and spontaneity that sets them apart from earlier depictions of monkeys, which were often based on stylized Chinese precedents.
A particularly noteworthy event in Sosen’s career occurred in 1809 when a gibbon was introduced to Japan by Dutch traders. This marked the first time a live gibbon had been seen in Japan for centuries, and it sparked considerable excitement and curiosity among the populace. Mori Sosen seized this opportunity to create a graphic record of the event – a detailed illustration that served as an invaluable historical document. This achievement highlights not only his artistic skill but also his keen awareness of contemporary events and his willingness to engage with them through his art. It’s a testament to his role as both an artist and a cultural observer.
Mori Sosen's place within the Shijō school is crucial to understanding his artistic development. The Shijō school, emerging in the mid-18th century, represented a departure from the more rigid conventions of the Kano school. While retaining elements of traditional Japanese painting, the Shijō artists embraced greater freedom and experimentation, particularly in their depictions of animals. They were influenced by Western art, specifically European engravings, which provided them with new perspectives on composition, perspective, and detail.
Sosen skillfully integrated these influences into his own style while maintaining a distinctly Japanese sensibility. He was known for his meticulous attention to texture and surface quality, employing techniques such as sumi-ura (a technique of applying black ink to the edges of painted areas) to create a sense of depth and volume. His use of color was equally sophisticated, with a preference for subtle gradations and delicate washes. He also demonstrated an exceptional ability to capture the fleeting expressions and movements of his subjects – a hallmark of the Shijō school’s approach.
Furthermore, Sosen's work reflects a growing interest in waka poetry during this period. Many of his monkey paintings were inspired by these short, evocative poems, which often focused on themes of nature, beauty, and transience. This integration of poetry and painting was characteristic of the Shijō school’s artistic philosophy – a desire to create works that resonated with both visual and literary sensibilities.
Mori Sosen's oeuvre encompasses a wide range of subjects, including deer, boars, peafowl, and various landscapes. However, his monkey paintings remain his most celebrated achievements. His series of “Monkeys in…” compositions – "Monkeys in a Plum Tree," "Monkeys in a Persimmon Tree," "Monkeys Playing with a Crab," and “Monkeys in the Snow” – exemplify his mastery of capturing animal behavior and creating dynamic, engaging scenes. These works are not merely representations of animals; they are imbued with a sense of life and movement that is truly remarkable.
Beyond his depictions of monkeys, Sosen also produced several notable landscape paintings, often featuring elements such as waterfalls, pine trees, and blossoming cherry trees. These landscapes provide a contrasting backdrop to his animal subjects, highlighting the beauty and diversity of the Japanese natural world. His “Stag Amid Autumn Flowers” is particularly noteworthy for its masterful use of color and composition, creating a scene of serene beauty and quiet contemplation.
His painting "Graphic Record of the First Gibbon Imported to Japan" stands as a unique historical artifact, showcasing his artistic skill alongside his keen observational abilities. It’s a testament to his ability to capture a significant cultural moment through the medium of art.
Mori Sosen's influence on Japanese painting is undeniable. He helped to establish the Shijō school as a major force in the art world, and his innovative techniques and stylistic choices paved the way for subsequent generations of artists. His meticulous depictions of animals – particularly monkeys – set a new standard for artistic realism and observation.
Beyond his artistic achievements, Sosen’s work offers valuable insights into the cultural attitudes and beliefs of Edo-period Japan. His fascination with monkeys reflects a broader interest in the natural world and a growing appreciation for its beauty and complexity. His graphic record of the gibbon's arrival represents a pivotal moment in Japanese history – a symbol of cultural exchange and the introduction of new ideas and perspectives.
Today, Mori Sosen’s paintings are treasured works of art, admired for their technical skill, artistic sensitivity, and historical significance. They continue to captivate viewers with their vibrant colors, intricate details, and profound sense of life – a testament to the enduring legacy of this remarkable artist.
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Silkies — Mori Sosen
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Koloristički identitet dela „Silkies”, autor Mori Sosen: paleta u nijansama Dark, sa dominacijom boje Driftwood (#a48551).
Nivo kontrasta dela „Silkies”, autor Mori Sosen je Serene.
Ostala imena zabeležena za Mori Sosen, autora dela "Silkies", uključuju 森 狙仙, Sosen, Mori Morikata (Shushô), Shukuga, Hanaya Hachibei.