People use artistic work as a way of communication. They draw cartoons or make sculptures to display their culture or their opinion about some situations. The Japanese culture is very vibrant and rich; it is reflecting diversity of the community. The Japanese culture has been preserved through rich museum collection of materials that have long historic value. The booming economy stands firmly on art as one of its strong pillars. Indeed from the early part of 20th century, art and culture have remained world’s most earning industry. The sector has been a steady source of reliable revenue for the Japanese government. Besides, it has been a repository of the Japanese people’s heritage and culture for a long time, an emblem of their dynamic traditions. The following paper puts the Japanese artistic work in perspective, looking at the Long-Necked Goblin sculpture, the year of molding among other important aspects.
The Long-Necked Goblin sculpture was made by the Japanese school called Tomokazu in the early to mid-19th century. The sculpture is made of wood inlays crafted carefully to display the Japanese culture. It was made by a group of artists called Mavo. The sculpture is on public display under the classification of the Raymond &France bushels collection in the pavilion of Japanese art. Visually, the sculpture is a molding of an old Japanese man in a gown. The wood is well varnished to give it that dark-brown color and shiny splendor. It is very bold. The old man is not alone; he is with somebody else, probably his son, smaller in size right next to him. The artists working on this piece of art, among other sculptures, concerned themselves with a convergence of cultural, ideological, political and social life. During this time, Japan was going through a steep ideological and philosophical shift. The period was crucial as it displayed a conflict between two cultures. The government was determined to adopt western style though the individualism as a political ideology. On the other hand, this period, especially during 1912-1926, experienced an influx of Chinese culture due to the war in China. Mavo hence sought cultural and political common ground through his artistic work.
The Long-Necked Goblin sculpture displays two individuals standing close to one another. However, they independently display the perfusion of the individualistic culture in Japan during this period. Despite standing very close to each other, the shorter man seeks some physical support. Mavo showed the height of individualism and capitalism in Japanese philosophy. The head architect of the art, Murayama Tomoyoshi, had been educated in Berlin Germany and had been exposed to the European modernism. Being the leader of this group, Tomoyoshi was always charismatic and forceful. The group’s piece of art always revolved around his intellectual development. Having said this, the sculpture is hence a depiction of the support to individualism and capitalism. The ideology encouraged focus of individual aspirations as opposed to the national endeavors. The political leadership of the nation at this time had adopted a utilitarian approach to leadership. It set in motion the rise of dictatorship that arose out of capitalism.
Indeed in most instances, nations that chose individualism, embraced capitalism and materialism. The state leadership would mutate slowly to autocratic leadership. Artists would use different pieces of art to show either support or rejection on the same subject. The Long-Necked Goblin shows support for the ideology and philosophy sweeping across Japan at the time. The coloring is bold, projecting the confidence with which the artist supports the ideology. They seem to have a lot of trust in the doctrine, in which one can be successful, work hard, and stand firmly on their own feet.
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