Huang Goodman · Art Forgotten

Art Forgotten

Art from public museum collections. A mismatched real Japanese law, and some other factoids.

Every object, image and description comes from the museum's own catalogue record, and every object links to its original. Japanese records are machine-translated into English; the museum's Japanese is kept beside the translation because it is the authoritative form. Each law carries its official number and links to e-Gov 法令検索, the Japanese government's statute database.

屏風の前の裸婦
{屏風の前の裸婦 · オットマン · 1920年頃 · Japan Search · 国立国会図書館}
Screen's front naked woman. A painting presents a scene of a woman standing naked in front of a screen. · Ottoman This catalogue introduces various aspects of the Ottoman culture. The Ottoman Empire was established in the late 13th century in present-day Turkey, and it reached its zenith in the 16th and 17th centuries, ruling a vast territory from Central Europe to the Middle East. The Ottomans are renowned for their rich artistic traditions, including calligraphy, miniature painting, and ceramics. This catalogue explores these artistic expressions and their historical contexts. The Ottoman court was a center of patronage for the arts. Sultans and their consorts commissioned works in various mediums to adorn their palaces and mosques. This catalogue presents examples of these commissions and sheds light on the role of art in Ottoman society. Moreover, the Ottomans were influenced by the cultures of the lands they ruled. This catalogue examines the exchange of ideas and artistic styles between the Ottomans and their subjects, as well as the impact of the Ottomans on European art. The Ottoman language, literature, and music are also showcased in this catalogue. Through these cultural expressions, we gain a deeper understanding of the Ottoman people and their way of life. This catalogue is divided into sections that focus on specific aspects of Ottoman culture, such as art, architecture, literature, and music. Each section includes essays by leading scholars in the field, as well as illustrations and translations of primary sources. We hope that this catalogue will serve as a valuable resource for scholars, students, and anyone interested in the rich and complex history of the Ottoman Empire.

OTTMAN exhibited his paintings at various exhibitions in Brussels and Paris during the early 20th century, including Salon des Artistes Indépendants and Salon d'Automne. In his initial works, he painted landscapes with modern themes favored by Impressionists. He is known to have been strongly influenced by Renoir throughout his life, which is evident in the brightly colored sensual female image in this piece. Additionally, the figure's background with an eastern-style folding screen indicates his interest in Japanese art.

オットマンは、サロン・デ・ザンデパンダンやサロン・ドートンヌなど20世紀前半の様々な展覧会に出品し、ブリュッセルとパリを拠点に活動した画家です。初期には印象派が好んでとりあげた近代的なモチーフの風景画を描きました。ルノワールに生涯深く傾倒していたといわれ、本作品のように明るい色調で描いた官能的な女性像にはその強い影響がみられます。また、人物の背景に東洋的な屏風を描き込んでいる点に、日本美術への関心も窺えます。 OTTMAN was based in Brussels and Paris and exhibited his paintings at a variety of exhibitions in the early 20th century, such as Salon des Artistes Indépendants and Salon d'Automne. In his early years, he painted landscapes with modern motifs preferred by Impressionists. It is said that he was deeply devoted to Renoir throughout his life, and Renoir’s strong influence can be seen in the sensual female image drawn in bright colors in this work. His interest in Japanese art is apparent from the eastern-style folding screen behind the figure.

View the original at Japan Search →
The law
伝統的工芸品産業の振興に関する法律
Act on the Promotion of Traditional Craft Industries
昭和四十九年法律第五十七号 · Act No. 57 of 1974

A craft cannot call itself traditional by taste or reputation. Article 2 sets five conditions, all of which must hold: it is used mainly in daily life, the main part of its making is by hand, it is made by traditional techniques, it is made chiefly from materials traditionally used, and a not-small number of people in a defined area still make it. The designation names the techniques, the materials and the region.

The cool part. Two conditions do quiet work. The first is daily use, so a technique kept alive only for display does not qualify. The fifth is the number of makers: the law will not protect a single surviving genius, because one person is a biography and not an industry. And because the region is written into the designation, the craft is legally attached to a place and cannot move.

Verify at e-Gov 法令検索 →

Use it Take the ratio, not the picture. It sets a page better than a grid does.

Description source: museum curator text, translated — not generated