Guide des œuvres étudiantes
Copyright Cette œuvre est dans le domaine public. Ike Taiga est décédé(e) en 1776 ; le droit d'auteur dure 70 ans après le décès de l'artiste, il a donc pris fin en 1846.
Mise en contexte
Mount Fuji — Ike Taiga
L'original mesure 129 × 37 cm (hauteur × largeur), représenté ici à côté d'un adulte de taille moyenne.
Ligne supérieure : les années. Ligne inférieure : l'âge de l'artiste au début et à la fin de chaque période — 0 à la naissance, 53 au décès.
Peint lorsque l'artiste avait 37. L'artiste est décédé à l'âge de 53. 2 des 6 œuvres datées de cet artiste dans notre catalogue sont antérieures.
Ombré : la vie de Ike Taiga (1723–1776) ▲ cette œuvre, 1760 chaque peinture datée, décennie par décennie
Choisissez une œuvre ci-dessus : nommez deux points communs avec celle-ci, et une différence.
D'autres œuvres à découvrir aux côtés de celle-ci : wahooart.com/fr/art/similar/ike-taiga-mount-fuji-D32BA2-en/
Mesuré à partir de l'image
Couleur principale
Sap Green #5c5d4b
Palette répertoriée
Ces couleurs au cœur de toute la palette de l'artiste Rechercher d'autres peintures par couleur
Les dix principaux pays
Trouvez les trois pays les plus sombres sur la carte. Le musée qui conserve ce tableau se trouve-t-il dans l'un d'entre eux ? Notez une raison pour laquelle des personnes venant de loin pourraient venir l'admirer.
Dans l'ensemble, ces œuvres captent 99,8% de toute l'attention que les peintures de cet artiste ont reçue au cours des douze derniers mois. Le catalogue contient 28 œuvres de cet artiste, dont 10 ont été consultées au moins une fois. Ce tableau se classe 5 parmi eux, captant 8,3% de cette attention. Les mêmes chiffres, mois par mois
Les barres mesurent l'attention, non la qualité. Choisissez l'œuvre en haut ainsi que celle-ci : citez un élément qui pourrait rendre une peinture célèbre, au-delà de sa simple maîtrise technique.
À propos de cette œuvre
Mount Fuji — Ike Taiga
Japan’s grandest peak, with its contours rendered in outlines of pale gray ink with washes to subtly suggest volume, sits above a landscape of rice paddies stretched out before it—employing an unusual sense of perspective that give the impression that the artist was viewing the scene from faraway and above. The central focus of the composition is the area of rice paddies in the middle ground with the subdivided plots (ase 畦) drawing the eye with their bold, abstracted depiction. The overall composition, disarmingly simple at first glance, strikes one as different from anything else in in Ike Taiga’s corpus, though comparisons can be made with depictions of Fifth Month scenes from sets of paintings done by the artist of the theme of Mount Fuji in Twelve Months. Looking closely the brushwork is firm and well controlled. Some of Taiga’s students, including Aoki Shukuya created similar compositions based on Taiga’s model, as did Okada Beisanjin a generation later.The monk and Nanga painter Geppō (1760–1839), considered third in the Taiga lineage after Shukuya praised this painting on the box inscription, adding to its cachet as a work that was emulated by Taiga’s pupils.
Artiste et musée
Né(e) à Kyoto, Japon
Ike no Taiga (池大雅, 1723 – 1776) stands as a monumental figure within the bunjinga tradition—a uniquely Japanese form of literati painting that flourished during the Edo period. More than just an artist, he embodied the spirit of his time, skillfully blending classical Chinese aesthetics with groundbreaking experimental techniques to produce works that continue to resonate with collectors and scholars alike. His life story itself is a testament to perseverance and intellectual curiosity, shaping him into one of the most influential painters of his era.
Born into humble circumstances—his father a farmer on the outskirts of Kyoto—Taiga’s early life was marked by hardship. The family moved into Kyoto proper shortly before his birth, possibly to escape famine conditions, and his father's employment at the silver mint afforded them modest financial stability. Tragically, he passed away when Taiga was just three years old, leaving his widowed mother to raise him with unwavering devotion. Remarkably, she prioritized his education, securing tutors who instilled in him a profound understanding of both Japanese and Chinese disciplines—a foundation that would prove crucial to his artistic development. By the age of six, he began formal training at Manpuku-ji Zen Temple, fostering connections that would endure throughout his life, grounding him in Buddhist philosophy and shaping his contemplative approach to artmaking.
Taiga’s artistic journey commenced professionally at fourteen, establishing a fan painting workshop where he honed his craft alongside fellow artists and collectors. A pivotal encounter with Yanagisawa Kien—a prominent social and artistic patron—introduced him to the vibrant bunjinga circle of Kyoto, propelling him toward collaborations that would solidify his reputation as a leading figure in Japanese art. Notably, Taiga’s formative influence stemmed from Yi Fujiu (j: i fukyū), a Chinese pai
Early Life and Family Background: Ike no Taiga was born into a family of modest means; his father worked as a farmer on the outskirts of Kyoto. This relocation occurred before Taiga’s birth, driven by concerns about famine conditions, and his father's position at the silver mint provided a degree of financial security. Despite this relative stability, Taiga experienced profound loss when his father died prematurely at the age of three, leaving his mother to shoulder the responsibility for raising him with unwavering dedication.
Education and Training: Recognizing Taiga’s exceptional talent—described as “supernaturally gifted”—his mother diligently pursued educational opportunities for him, securing tutors who imparted knowledge in both Japanese and Chinese disciplines. This comprehensive training laid the groundwork for his artistic pursuits and instilled a deep appreciation for intellectual rigor.
Zen Temple Affiliations: At six years old, Taiga began formal instruction at Manpuku-ji Zen Temple, establishing enduring connections with Buddhist philosophy and shaping his contemplative worldview—a characteristic that would permeate throughout his entire artistic career.
Taiga’s artistic development gained momentum through collaborations with influential figures like Yanagisawa Kien, who recognized his talent early on and championed his endeavors. This association propelled him into the heart of Kyoto's bunjinga milieu, fostering connections that would enrich his creative vision and solidify his standing as a respected artist within Japanese society. His artistic style was profoundly shaped by Yi Fujiu’s teachings—specifically, the innovative techniques employed in landscape painting derived from Chinese traditions. These methods were documented extensively in Yi Fujiu Ike no Taiga Sansui Gafu (1803), becoming a cornerstone of Taiga's artistic practice and reflecting the pervasive influence of Chinese aesthetics on Edo period art.
Fan Painting Workshop: At fourteen, Taiga established a fan painting workshop where he cultivated his skills alongside fellow artists and collectors—a testament to his commitment to honing his craft within a collaborative environment.
Collaborations with Kien and Others: His encounter with Yanagisawa Kien marked a pivotal moment in his artistic trajectory, introducing him to the influential bunjinga circle of Kyoto and fostering partnerships that would elevate his reputation as a leading artist.
Relationship with Fujiu: Taiga’s formative influence stemmed from Yi Fujiu's teachings—particularly the revolutionary techniques utilized in landscape painting inspired by Chinese traditions, documented comprehensively in Yi Fujiu Ike no Taiga Sansui Gafu.
Taiga’s artistic output exemplifies a remarkable blend of tradition and innovation. He meticulously rendered landscapes—often featuring mountains, rivers, and trees—capturing subtle nuances of light and atmosphere with exceptional precision. Unlike many of his contemporaries who adhered strictly to established conventions, Taiga experimented with techniques that pushed the boundaries of bunjinga, notably “finger painting”—a method where pigment is applied directly onto paper using fingertips—creating textured surfaces and conveying a sense of immediacy and spontaneity. His works stand as enduring symbols of Edo period artistic excellence—demonstrating his mastery of both Eastern and Western influences and securing his place among Japan’s most revered painters. Ike no Taiga's legacy extends beyond individual artworks; he profoundly impacted the development of bunjinga as a genre, establishing it as a vehicle for conveying philosophical ideas alongside aesthetic beauty. His contribution to Japanese art history remains undeniable, ensuring that his vision continues to inspire artists and captivate audiences for centuries to come.
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Mount Fuji — Ike Taiga
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«Mount Fuji» de Ike Taiga présente une luminosité de bright, avec une luminance de Gentle Luminance.
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