Calligraphy of Images: Artworks by Yukei Teshima

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2022-01-01 DOI:10.21638/spbu15.2022.108
Nadezhda S. Filonenko, M. Tretyakova
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Abstract

Postwar Japanese calligraphy has been little studied in Western art history, and in particular, there is no analysis of the work of one of the most important calligraphers of postwar Japan,Yukei Teshima (1901–1987). The relevance of this research lies in the fact that the Calligraphy of Images (Japanese “Shosho”), created by the master, is an example of building a dialogue between fundamentally different traditions of Western and Eastern art, a dialogue that allows the calligrapher to see the uniqueness of Japanese calligraphy, including its spiritual and aesthetic content. The purpose of this study is to determine the specifics of Teshima’s work, using the example of his most famous artworks: “Hokai” (literally “Collapse”) (1957), containing the image of houses collapsing one after another from the explosions of aerial bombs at the end of World War II; and “Tsubame” (“Swallow”) (1960), giving rise to the feeling of flight through a “dancing” movement of a bird. The authors conclude that, although Tesima’s “calligraphic paintings” show a connection simultaneously with the Chinese roots of Japanese calligraphy and the avant-garde painting of the West, the calligrapher remains faithful to the Japanese artistic and aesthetic tradition. Unlike Chinese calligraphy, traditionally understood as a tool for “nurturing life”, or avant-garde painting generated by Western conceptuality, Teshima’s calligraphy expresses the Buddhist ideals of accepting one’s destiny (one’s path to enlightenment) and lack of attachment. The calligrapher uses the “hisshoku” (“rusty brush”) writing technique, which involves “overcoming” the brush and conveying the tactile sensation of a stroke (a symbol of overcoming the materiality of the world), and also forms the “boundless space” of the sheet, i. e. “aki”, which he calls “Space of [divine] love” and connects with the free soaring of the spirit.
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影像书法:铁岛行kei的艺术作品
在西方美术史上,对战后日本书法的研究很少,尤其是对战后日本最重要的书法家之一Teshima Yukei(1901-1987)的作品没有分析。这项研究的相关性在于,这位大师创作的《图像书法》(日本的“Shosho”)是在根本不同的东西方艺术传统之间建立对话的一个例子,这种对话使书法家能够看到日本书法的独特性,包括其精神和美学内容。本研究的目的是确定铁岛的具体工作,以他最著名的作品为例:“Hokai”(字面意思是“倒塌”)(1957),包含了第二次世界大战结束时航空炸弹爆炸的房屋一个接一个倒塌的图像;1960年的《燕子》(Tsubame),通过一只鸟“跳舞”的动作,给人一种飞翔的感觉。作者的结论是,尽管德西马的“书法绘画”与日本书法的中国根源和西方前卫绘画同时存在联系,但这位书法家仍然忠于日本的艺术和美学传统。与传统上被理解为“养育生命”的中国书法或西方观念产生的前卫绘画不同,铁岛的书法表达了佛教的理想,即接受自己的命运(一个人的启蒙之路)和缺乏依恋。书法家使用“锈笔”(“锈笔”)的书写技巧,既“战胜”毛笔,传达笔触的触感(一种战胜物质性世界的象征),又在纸上形成“无垠的空间”,即“aki”,他称之为“[神]爱的空间”,与精神的自由翱翔联系在一起。
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来源期刊
CiteScore
0.20
自引率
50.00%
发文量
9
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