2019年7月16日 星期二

重要文化財《文殊及四脇侍》,奈良縣櫻井市安倍文殊院




距離奈良南邊約二十公里,奈良縣櫻井市的安倍文殊院中的文殊菩薩,與京都府「切戸文殊」及山形縣「亀岡文殊」被視為日本三大文殊。安倍文殊院原為東大寺的分院,原名崇敬寺,七世紀時由強大的安倍家族創建,經過千年變遷,目前的文殊院以現代近乎劇場的布置手法陳列了乘在獅背上的文殊及四脇侍。這五尊雕像代表著年老的重源與大佛名匠快慶眾人同心協力的豐碩成果。
重源是十二世紀末至十三世紀初對日本佛教藝術有著重大貢獻的僧侶。他接受天皇的命令,募款修復東大寺以及眾多佛教文物,運用家庭背景、宗教素養、中國知識,以及擁有的人脈,歷時二十餘年的心血,將日本佛教雕刻與建築從戰火的灰燼中重新拯救出來。本月5號也正好是重源的忌日,東大寺在這天除了舉行法要活動,也展示了一年僅兩次(另一次是12月16日)對外公開的木雕重源上人坐像。
目前在東京國立博物館的「奈良大和四寺のみほとけ」(みほとけ:御佛)展中,也能看到安倍文殊相關文物,此外還包括岡寺、室生寺、長谷寺中重要的佛教藝術作品,將展出至9月23日。
「奈良大和四寺のみほとけ」展覽資訊
https://www.tnm.jp/modules/r_free_page/index.php?id=1966
同場加映:由搬運這批佛像至展覽的過程,可以看到工作人員們如何細心的保護國寶不受損害
https://www.nikkei.com/article/DGXMZO46900990T00C19A7000000/
(圖片為重要文化財《文殊及四脇侍》,奈良縣櫻井市安倍文殊院)

Mackintosh, Glasgow's Neglected Genius (2018) BBC 2

BBC Two      Mackintosh Glasgow's Neglected Genius (2018)


https://www.youtube.com/watch?v=AdhFycYUT3U&fbclid=IwAR1m5q9FGhHdDn-2IdXRRQDZOsF3URv8KlM6ZtSy1oYBci1ZR0ftRNa20yA



Well worth watching again, the Gesso panel in Vienna is a must see, if ever you're there, DO NOT miss it.  24~32

French Parliament approves Notre Dame restoration bill......Notre-Dame Must be Restored Exactly How it Was, Declares French Senate

French Parliament approves Notre Dame restoration bill

President Emmanuel Macron succeeded in obtaining a blueprint for Notre Dame's restoration, which could pave the way for his controversial plan to replace the spire with a "modern" design.

Notre Dame Cathedral after the fire
France's Parliament voted on Tuesday in favor of a law to restore the damaged roof of Notre Dame Cathedral, after a fire destroyed its spire in April.
At issue for lawmakers was the decision of what the new spire would look like. The destroyed spire had been designed 19th-century restorer Eugene Viollet le Duc, after the medieval original was demolished in the 18th century.
Tuesday's vote was not without controversy, as politicians squabbled for months over the details of the restoration project.
French President Emmanuel Macron's and his centrist Party, En Marche, supported the construction of a modern spire, to make a "contemporary architectural statement."
His political opponents, however, favored an exact replica and as a result, the opposition-controlled Senate, the parliament's upper house, rejected the law.
The National Assembly, the country's lower house, controlled by En Marche, overruled the Senate to ultimately pass the bill. But the final text did not directly address the architectural form of the reconstruction and in turn, the spire design, undetermined.
The "aim is to give Notre-Dame a restoration appropriate for the place it has in the hearts of the French people and in the entire world," Culture Minister Franck Riester said.
In an opinion poll published in April, most respondents said they wanted the cathedral rebuilt as it was before the fire.
Architects have submitted models for a new roof and spire to the French government
Architects have submitted models for a new roof and spire to the French government
Five-year project
The approved bill will dispense the 850 million euros ($954 million) in donations that individual, corporate and private donors made after the blaze.
Macron has insisted that the reconstruction project should be completed within five years. But the deadline has been criticized by experts as too ambitious.
The president's political opponents agreed, accusing Macron of rushing the project to ensure reconstruction was completed for the 2024 Olympic Games that Paris will host.
"Imposing a deadline of five years from on high makes no sense," Brigitte Kuster of the opposition Republicans said.
The sudden fire at the Notre Dame Cathedral, an iconic UNESCO world heritage site covering the banks of the River Seine, captivated the world's attention.
Paris prosecutors are investigating the causes and have said that either a poorly stubbed-out cigarette or an electrical fault could have started the fire.
jcg/bw (dpa, AFP)

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MAY 2019
🚨 The French Senate has stipulated that Notre-Dame cathedral must be restored exactly how it was before the major fire that damaged the landmark. 🚨

2019年7月15日 星期一

The Collections Of Sergei Shchukin And Ivan Morozov. Matisse and Russian Icons

The collections of modern art assembled by the Morozov brothers and Sergei Shchukin are among the finest in the world and are today housed in museums in ...
Two Russian art collectors stood out at the beginning of the 20th century: the cloth merchant Sergei Shchukin (1854–1936) and the textile manufacturer Ivan ...

Matisse arrived in Moscow on October 23, 1911. The next day, he visited the Tretyakov Gallery and asked to be shown their collection of Russian icons. Matisse was delighted by the icons and declared that to see them was more than worth the arduous trip. Matisse spent much of his time in Moscow frantically visiting monasteries, churches, convents, and collections of sacred images. Excited by what he saw, he shared it with all who came to interview him during his stay in Moscow. “They are really great art,” Matisse excitedly told an interviewer. “I am in love with their moving simplicity.… In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art.”

Google 翻譯

馬蒂於1911年10月23日抵達莫斯科。第二天,他訪問了特列季亞科夫畫廊並要求展示他們的俄羅斯偶像。 馬蒂斯對這些圖標感到很高興,並宣稱要看到它們不僅值得進行艱苦的旅行。 馬蒂斯大部分時間都在莫斯科瘋狂地參觀修道院,教堂,修道院和神聖圖像。 他對所看到的一切感到興奮,並與在莫斯科逗留期間前來採訪他的所有人分享。 “他們真是偉大的藝術,”馬蒂斯興奮地告訴採訪者。 “我愛上了他們動人的簡約。......在這些圖標中,畫出它們的藝術家的靈魂就像一朵神秘的花朵。 從他們那裡我們應該學習如何理解藝術。“




icon :聖相(像);畫像;版畫;圖像:尤其指東方教會拜占庭禮天主教所供奉基督或聖人的平面畫像、版畫、聖像。禮儀用的聖像所描繪的是降生成人的基督,經由圖像,讓我們瞻仰主的榮耀;而聖母和其他聖人的聖像也表示基督在聖人身上受到光榮:使人轉化成天主的模樣、肖像。 Icon 又稱 ikon ,源自希臘文。參閱 idolatry 


monastery  (1) 隱修院;修道院:共誦日課、度團體奉獻生活的修院。 (2) 會院:專指與外界隔絕、遵守禁地規則的男女會院。

Church  (1) 教會;教會團體;基督徒團體;教派;會眾:指耶穌建立的信仰團體(集會),亦即天主在世界上的家庭-教友透過洗禮而成為一家人,彼此形同手足。基督教會所有的要素,圓滿地保存在天主教中,而天主教的四個特徵是至一、至聖、至公、從宗徒傳下來的教會。 (2) 教堂;天主堂;禮拜堂(基):為敬禮天主而專用的神聖房屋;指所有信徒都有權利到此參與(舉行)天主的敬禮;其次為聖堂 oratory (拉丁文為 oratorium ),專為某一團體敬禮天主之用;最後為私用小聖堂 private chapel (拉丁文為 sacellum privatum ),經教區教長許可,只為私人或家族之用(法典 1214-1229 )。

convent :會院:尤其指修女會院。






  The Conversation was another picture painted before the trip to Moscow. Shchukin, writing to Matisse on August 22, 1912, said of this picture: "I often think of your blue painting (with two figures)... It reminds me of a Byzantine enamel, its colors are so rich and deep."[5] Matisse's first exposure to Byzantine art may have come through Signac. When the divisionist travelled to Venice and saw the Byzantine mosaics in San Marco, he decided to change his dots to squares. He brought back a number of postcards which he doubtless showed his disciple in St. Tropez. The impression of Byzantine mosaics seems to have stayed with Matisse. After his death, several photographs of the interior of Hagia Sophia were found pinned to the wall of his apartment in Nice.
   Matisse arrived in Moscow on October 23, 1911. The next day, he visited Ilya Ostroukhov, painter and collector and "patron" of the Tretiakov Gallery, whom he had met in Paris, and asked to be shown his collection of Russian Icons. A day later Oustroukhov recounted the incident:
    "Yesterday evening he visited us. And you should have seen his delight at the icons. Literally the whole evening he
     wouldn't leave them alone, relishing and delighting in each one. And with what finesse! ... At length he declared that
    for the icons alone it would have been worth his while coming from a city even further away than Paris, that the icons
    were now nobler for him than Fra Beato... Today Shchukin phoned me to say that Matisse literally could not sleep
    the whole night because of the acuity of his impression."[6]

   "From that moment on, "writes Pierre Schneider, "Matisse spent all his time going around to visit churches, convents, and collections of sacred images, his excitement at the first encounter not having diminished one iota. He shared it with all who came to interview him during his stay in Moscow." [7]
   On Oct. 31, Ilya Ostroukhov wrote to D.J. Tolstoy, the curator of the Hermitage Museum: "Matisse is here. He is deeply affected by the art of the icons. He seems overwhelmed and is spending his days with me frantically visiting monasteries, churches and private collections." [8]
   "They are really great art," Matisse excitedly told an interviewer. "I am in love with their moving simplicity which, to me, is closer and dearer than Fra Angelico. In these icons the soul of the artist who painted them opens out like a mystical flower. And from them we ought to learn how to understand art." [9] What is one to make of this expression of heartfelt admiration for the old Russian icons? From these icons "we ought to learn how to understand art." This is a very strong statement. It sounds exaggerated. Yet, Matisse was habitually reserved and cautious in his statements, not prone to exaggeration. Our endeavor in these pages may be defined as an investigation of the meaning and validity of this assertion.
   "From them we ought to learn how to understand art." Not one particular kind of art, but art in itself. The icons offered Matisse a revelation of what art is. This goes deeper than stylistic "influence." To speak of Matisse imitating or being influenced by icons is to miss the point. His relationship with them is on a deeper level. In them he has recognized, in an especially pure form, the essence of art. Art is, for Matisse, essentially a manifestation of the life in which both nature and the artist participate. Throughout his career Matisse was a truly original artist. This does not mean that one cannot find in his work what are commonly called "influences" of other artists, in this case the Russian iconographers. It means that Matisse's art is directly rooted in the place where art originates, in the wellspring of being which we mentioned at the beginning. Precisely because he strives to be true to nature, Matisse converges with the icon painters.



2019年7月11日 星期四

George Gershwin

"The Sunday morning [July 11, 1937] when I heard on the radio that George Gershwin had died, I was absolutely devastated.
I tried to get out of playing [at summer camp, where I was swimming and music counselor]. I came into the dining room where all the parents were sitting, flattering and chattering, and instead of playing “Tea for Two” …
I held up my hand, or played a chord, or something to get them quiet. Then I announced that Gershwin had died, that he had been an idol of mine, and that I was going to play his second Prelude as a memorial. They all put down their silverware and listened as I played this very slow, very sad music. As the last notes wafted away, I rose from the piano and left the hall in silence.
That was the first inkling I ever had of the power of music, of its possibilities for control. It was a great turning point for me. Perhaps the most theatrical thing in the world is a roomful of hushed people, and the more people there are who are silent, the more dramatic it is."
Leonard Bernstein
Interview with Thomas Willis, Chicago Tribune, 1976
[Photo: George Jacob Gershwin on the cover of TIME Magazine, 1925]

Dalí's Last Masterpiece 2015

每年百多萬人造訪的
Dalí Theatre and Museum
是他倆的靈感交會紀念館?
Salvador Dali and Gala
紀念"館" 從1972年開始興工/改造,就是要讓後世驚嘆的設計,是眾多藝術品的系統。
看了Dalí's Last Masterpiece 2015,對"putting it all together" 有更深的體會。



Salvador Dali and Gala in Cadaques. 1930
圖像裡可能有2 個人、微笑的人、大家站著和戶外



每年百多萬人造訪

Dalí Theatre and Museum

是他倆的靈感交會紀念館?

Dalí's Last Masterpiece 2015

Trailer of "Dalí's Last Masterpiece"




Fundation Gala-Salvator Dali: Dali’s Last Masterpiece




Plot

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Summaries

  • With this documentary we wanted to talk about Dalí, his artwork, his philosophy and his persona, as well as his latest creation, the Dalí Theatre-Museum, where he transferred his universe and where he projected his imagination, his dreams and visions, and condensed a life devoted to art.
  • To visit the Dalí Theatre-Museum in Figueres is to dive in Dalí's universe, in the evolution and understanding of his work and, at the same time, the history of art itself that he constantly alludes to, while keeping a deep respect to tradition. Is to get immersed into a labyrinth, with no chronological order but with multiple interpretations since many artworks, according to Dalí, he himself doesn't know its meaning. Is to become an active spectator and to participate in a creative event, midway between what is permanent and what is temporary. It offers the possibility to transform the intellectual experience and/or the leisure-cultural activity to a personalized museum visit that provides meaning, its own meaning, to the artwork.

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