DOI Heft:
Nr. 222 (September 1911)
DOI Artikel:Harada, Jirō: Japanese art and artists of to-day, [6]: Cloisonné enamel-work
DOI Artikel:Melani, Alfredo: Some notes on the Turin international exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20973#0307
The Turin International Exhibition
East and West appraise and appreciate an art object
is another factor which may have serious effects.
In Japan the object is admired or condemned
chiefly on its own intrinsic merits without regard
to its decorative appeal. Most of the articles deco-
rating our tokonoma are decorated, not decorative,
art objects, whereas in the West the decorative
quality is nearly always demanded. As is the case
with many other Japanese works of art, much of the
best cloisonne depends for its appeal on fine
workmanship, which can only be appreciated on
close examination, and it has but little value as a
decoration in a room. As the cloisonne industry
depends largely on its Western markets, this differ-
ence in the point of view between the artists who pro-
duce it and the people who buy it is bound to present
a serious difficulty. The problem is whether the
characteristic Japanese genius for fine workmanship
can be made to produce a definitely decorative
object suitable for ornament in a Western home,
without sacrificing both the Japanese artistic ideal
and the essential characteristics of cloisonne art.
Such problems are not confined to the future
of shippo art. They confront the new Japanese
art, which aims at the perfect harmonisation
of the best in Occidental art with the best in
Japan's own art. Not the least interesting phase
of such a problem will be to determine the value
of technique in relation to its effect on art, espe-
cially in a country like Japan where particular im-
portance is attached to the spiritual and idealistic
side of art. Suffice it to note here that there is a
strong tendency even in shippo art to aim at that
which is most difficult regardless of the effect
obtained. Jiro Harada.
OME NOTES ON THE TURIN
INTERNATIONAL EXHIBITION.
BY ALFREDO MELANI.
It is somewhat difficult for foreigners to under-
stand why, in celebrating her Jubilee, Italy should
have wished to hold International Exhibitions
both at Turin and at Rome, instead of concen-
trating her efforts upon one important display.
Not only Italy herself, but also the other
front entrance view of the hungarian pavilion, turin exhibition
emile tory and maurice pogany, architects
286
East and West appraise and appreciate an art object
is another factor which may have serious effects.
In Japan the object is admired or condemned
chiefly on its own intrinsic merits without regard
to its decorative appeal. Most of the articles deco-
rating our tokonoma are decorated, not decorative,
art objects, whereas in the West the decorative
quality is nearly always demanded. As is the case
with many other Japanese works of art, much of the
best cloisonne depends for its appeal on fine
workmanship, which can only be appreciated on
close examination, and it has but little value as a
decoration in a room. As the cloisonne industry
depends largely on its Western markets, this differ-
ence in the point of view between the artists who pro-
duce it and the people who buy it is bound to present
a serious difficulty. The problem is whether the
characteristic Japanese genius for fine workmanship
can be made to produce a definitely decorative
object suitable for ornament in a Western home,
without sacrificing both the Japanese artistic ideal
and the essential characteristics of cloisonne art.
Such problems are not confined to the future
of shippo art. They confront the new Japanese
art, which aims at the perfect harmonisation
of the best in Occidental art with the best in
Japan's own art. Not the least interesting phase
of such a problem will be to determine the value
of technique in relation to its effect on art, espe-
cially in a country like Japan where particular im-
portance is attached to the spiritual and idealistic
side of art. Suffice it to note here that there is a
strong tendency even in shippo art to aim at that
which is most difficult regardless of the effect
obtained. Jiro Harada.
OME NOTES ON THE TURIN
INTERNATIONAL EXHIBITION.
BY ALFREDO MELANI.
It is somewhat difficult for foreigners to under-
stand why, in celebrating her Jubilee, Italy should
have wished to hold International Exhibitions
both at Turin and at Rome, instead of concen-
trating her efforts upon one important display.
Not only Italy herself, but also the other
front entrance view of the hungarian pavilion, turin exhibition
emile tory and maurice pogany, architects
286