. International studio . A SCREEN BY SOTATSUKORIN SCHOOL Religion and Nature in Oriental Art. PAINTING IIV KIYONAGA. OKIO-YE SCHOOL of the fifth century the first is a principle henames rhythmic vitality. or as a Japanesecritic. Mr. Okakura Kakuzo. the late curator ofthe Oriental Collections in the Boston .Museumof Tine Arts, translated it, the life movement ofthe spirit through the rhythm of things. for art,he says, is the mood of the Universe, movinghither and thither amidst those harmonic lawsof matter which are rhythm. This conceptionof a vital relationship between art and the har-monics o
. International studio . A SCREEN BY SOTATSUKORIN SCHOOL Religion and Nature in Oriental Art. PAINTING IIV KIYONAGA. OKIO-YE SCHOOL of the fifth century the first is a principle henames rhythmic vitality. or as a Japanesecritic. Mr. Okakura Kakuzo. the late curator ofthe Oriental Collections in the Boston .Museumof Tine Arts, translated it, the life movement ofthe spirit through the rhythm of things. for art,he says, is the mood of the Universe, movinghither and thither amidst those harmonic lawsof matter which are rhythm. This conceptionof a vital relationship between art and the har-monics of creation, almost axiomatic with theEastern artist, is hardly conceived by our are some, however, who have caughl is one of the charms of Botticelli, who, of allour artists, was nearest, in spirit, to the was this principle, too, which perhaps drewWhistler first to the art of Japan. But this law of rhythmic vitality was only oneof six laid down by that Chinese critic of fifteenhundred years ago. Less distinctive, or perhapsmore in accord with some of our ideas
Size: 1748px × 1430px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
