The Analyzing of Paintings Cranes in Edo Period

The Analyzing of Paintings Cranes in Edo Period The paintings under consideration, Cranes, date back to the Edo Period, the time of humanistic and rational evolution. During this period, a significant shift from religious topics to secular motifs was observed. Elements of nature and classic representation of images were also included into the salient features of this time.Advertising We will write a custom essay sample on The Analyzing of Paintings â€Å"Cranes† in Edo Period specifically for you for only $16.05 $11/page Learn More Despite secularism and predominance of mundane elements, the paintings still contain some religious trends, particularly Neo-Confucianism philosophical underpinnings that one of the leading movements in Edo period. In this respect, Cranes are endowed with spiritual atmosphere and natural vitality that are expressed through an ideal combination of flora and fauna. Everything – from texture, fabric, and tone to color, shapes, and lines – reflect the common tr aits of Edo artistic movement. Painted in ink on silk and paper, Cranes are represented through extreme delicacy that is achieved by means of the materials used. Cautious lines made by the painter require extreme attention because at least one wrong movement or brush can spoil the entire work. Refinement of the materials used also contributes to better representation of artistic motives and themes. Judging from this, the artist strives to make use of these materials in order to achieve the effect of weightlessness, lightness, and simplicity. In addition, ink, paper, and silk are considered to be one of the main attributes of painting culture in Japan. It reflects Japanese cultural and historical heritage. Along with accuracy and delicacy of the image representation, the painting is also closely associated with spontaneity, subjective sensitivity, and grace. Incorporating all these features creates a complete picture of what ink painting is all about. While talking about the thematic concerns presented in the paintings under analysis, it can be stated that they are fully attached to the natural vision of the world with slight accent on illusion. At a glance, the cranes and surrounding natural elements are depicted in a realistic manner. We can easily compare those with real-to-life objects. However, realistic vision of the painting will not allow to see the essence and ideas that the author intends to convey. In fact, in order to understand the main motifs and themes of the works, one should understand the artist’s perception of the work and his/her emotional state.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Regarding light, use of colors, and composition, the primary concern here is to capture not the object itself, but its essence, landscape and interaction between the objects depicted on the picture. Beside accurate forms, minimalism of refined line s, the author also strives to render the traditional aesthetics of simplicity combined with intuitive expression. Apparently, this is the main feature of Japanese artistic trend in the seventeenths century. Particular attention should be paid to color usage that also contributes to the concept of simplicity and delicate expression. Black and white hues, shadows, and tones provide exceptional harmony to the described scenes. Hence, postures are colored in darker colors indicating the thematic center of the paintings; their movements and positions render their grace and beauty that are supplemented by virtuously presented background. Though being identical in composition centers, the backgrounds distinguish this picture from each other. At the left, the crane looks more superior and proud because all his movements and positions convey this idea. Strength and dignity are also represented through straight lines. In contrast, the crane depicted on the right painting seems to be more grac ious and yielding. A slightly raised leg and a half-opened beak render openness, lightness, and grace. Its metaphorical meaning can be presented through the artistic desire to express his openness to the world. Comparing these two birds, these cranes oppose each other in terms of character, position, and the painters’ expression. In addition, the birds are surrounded by different environments. Hence, left picture depicts some trees in bloom that, eventually, presents trees spring or summer period whereas pictures on the right is presented in autumn motifs Taking a closer look at the paintings concerned, a few words can be said about the dynamic character of scenes and objects. While studying the main elements, lines, and shapes, it is necessary to resort to artists’ emotional perception of the world described within a picture. In this respect, these lines, themes, and tender shades can be transformed into powerful energy that can endow the viewers with the main concept s and ideas of Japanese art and philosophy. In addition, the brushwork presented on the canvas also provides the entire work with greater range of expression and feelings. All these peculiarities and techniques are the main attributes of Edo painting whose primary purpose is narrowed to aesthetic and cultural representation of picture. In conclusion, artistic representation, usage of delicate techniques, and peculiar materials contribute to conveying the artist’s perception of the surrounding world\.Advertising We will write a custom essay sample on The Analyzing of Paintings â€Å"Cranes† in Edo Period specifically for you for only $16.05 $11/page Learn More Cranes do not only represent the natural world, they also render the artist’s emotional and psychological state. Particular emphasis is placed on brushwork, colors, and techniques that amplify the paintings’ cultural and historical affiliation to Edo period, the era of human istic movement. Finally, the pictures also reflect spirituality and vitality through the disclosure of natural world motifs.

Comma Before But

Comma Before But Comma Before But Comma Before But By Maeve Maddox This reader’s question illustrates the uncertainty felt by many writers about when to use a comma before the conjunction but: In the following sentence, the secondary clause isn’t truly independent; it lacks a subject, yet it conveys an almost-complete thought: â€Å"I left Susan a message last week but haven’t heard back from her yet.† My question is whether a comma precedes but even though a subject doesn’t follow but. Put another way, is the secondary clause’s implied subject, I ¸ sufficient to require a comma before the coordinating conjunction? There is no â€Å"implied† subject in the sentence â€Å"I left Susan a message last week but haven’t heard back from her yet.† The sentence’s stated subject is I. It’s the subject of both verbs, the one before and the one after the but. The answer, therefore, is that no comma is needed before the but. The rule for but is the same as that for the other six coordinating conjunctions: and, for, or, nor, so, and yet. If the conjunction precedes an independent (main) clause, use a comma: â€Å"Jack tried a new diet, but he still gained weight.† If the but is not followed by an independent clause, no comma is needed: â€Å"Jack tried a new diet but still gained weight.† If a writer finds himself hesitating over a sentence like the one in the example, the easiest way to settle the comma question is to supply another subject for the second verb: â€Å"I left Susan a message last week, but I haven’t heard back from her yet.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Punctuation category, check our popular posts, or choose a related post below:Dialogue Dos and Don'tsItalicizing Foreign WordsWhat the Heck are "Peeps"?