{"id":1742,"date":"2021-09-20T14:48:28","date_gmt":"2021-09-20T19:48:28","guid":{"rendered":"http:\/\/diluo.digital.conncoll.edu\/Asianart\/?p=1742"},"modified":"2021-12-22T02:14:04","modified_gmt":"2021-12-22T07:14:04","slug":"pine-tree","status":"publish","type":"post","link":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/image\/pine-tree\/","title":{"rendered":"Pine Tree"},"content":{"rendered":"\n
\"\"<\/figure><\/div>\n\n\n\n

Title:<\/strong> <\/strong> Pine Trees\/\u677e\u6797\u56f3\u5c4f\u98a8(Shorin-zu-byobu)<\/p>\n\n\n\n

Creator:<\/strong> Hasegawa Touhaku<\/a><\/p>\n\n\n\n

Material\/Medium:<\/strong> Ink on paper, diptych, screen wall<\/p>\n\n\n\n

Date:<\/strong>\u00a01568-1600\u00a0(Momoyama Era)<\/p>\n\n\n\n

Culture:\u00a0<\/strong>Japan<\/p>\n\n\n\n

Dimensions:\u00a0<\/strong>\u00a0Each panel 156.8 \u00d7 356 cm (61.73 \u00d7 140.16 in)<\/p>\n\n\n\n

Repository: <\/strong>Tokyo National Museum<\/p>\n\n\n\n

<\/p>\n\n\n\n

Description:<\/strong><\/p>\n\n\n\n

Hasegawa T\u014dhaku\u2019s Pine Trees is a large by\u014dbu with six panels and measures 5\u2019 1\u201d high by 11\u2019 4\u201d wide. It depicts a grove of pines surrounded by mist at the moist and flurrying mountain peak. The trees in the far-right panel tilt diagonally, suggesting the uneven terrain of the mountain. Moreover, the tilted trees fill one whole panel, balancing the empty right of the picture. It creates a secondary focal point, making the screen more intriguing. Tohaku used different brush strokes skills. The foreground tree is depicted using short, bold, and dry brush strokes; the trees in the second panel feature long, pale, and wet strokes. Even though the ink is monochrome, Hasegawa’s different strokes give spirit to this painting.<\/p>\n\n\n\n

The minimal elements and monochrome ink represent Japanese Zen, forming an atmospheric, peaceful, and meditative painting. The blurred pines at the back are of mystery, giving self-imagination for audiences. Additionally, Zen is illustrated by the fading trees. Zen says that people should find a way to become buddha individually, and be empty or vacuous are an important process. The blank in the painting shows vacuity, leaving audiences to figure out themselves. Thus, the image shows Zen\u2019s idea of \u201cnothing is everything.\u201d
<\/p>\n\n\n\n

Bibliography:<\/p>\n\n\n\n

Singer W James, \u201cPainting of the Week: Hasegawa T\u014dhaku, Pine Trees.\u201d Dailyart<\/em>, last modified May 23, 2021. https:\/\/www.dailyartmagazine.com\/hasegawa-tohaku-pine-trees\/<\/a><\/p>\n\n\n\n

Tokyo National Museum, \u201cPine Trees.\u201d Google Arts & Culture, <\/em>Accessed at Dec. 12, 2021. https:\/\/artsandculture.google.com\/asset\/HgFQR4hgzPorXg?hl=en<\/a>
<\/p>\n","protected":false},"excerpt":{"rendered":"

Title: \u677e\u6797\u56f3\u5c4f\u98a8\/Pine Tree
\nCreator: Hasegawa Touhaku
\nDate: Azuchi-Momoyama period, 16th century
\nType: Painting
\nDimensions: w345.1 x h155.1 cm (Each)
\nLocation: Tokyo national museum<\/p>\n","protected":false},"author":61,"featured_media":1785,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18],"tags":[3],"class_list":["post-1742","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-image","tag-japan","wpcat-18-id"],"_links":{"self":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/1742","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/users\/61"}],"replies":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/comments?post=1742"}],"version-history":[{"count":7,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/1742\/revisions"}],"predecessor-version":[{"id":3610,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/1742\/revisions\/3610"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media\/1785"}],"wp:attachment":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media?parent=1742"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/categories?post=1742"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/tags?post=1742"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}