Page 47 - BSAM 2017 Q1

In the second main section of this book, de Lange states that art in Japan began as a craft, and later through refinements, developed into an art form. He makes the argument that Japanese pictorial art depends more on the way it is mounted to achieve its full potential than western paintings hanging in wooden frames. The subtlety of the different materials used in mounting a scroll is crucial to the ability to fully appreciate East Asian art. This may be a new concept for many western readers. De Lange presents detailed information about the types of mounting— shin (formal), gyo (neutral), and so (informal). ese three designations are also used for Japanese tokonoma.
This second section provides detailed information about the structure of hanging and hand scrolls. Using beautiful executed line drawings, de Lange illustrates
the three main parts of hanging scrolls and the ve distinct parts of hand scrolls. He provides detailed data about the every part of the scrolls, more than I ever wanted to know.
De Lange points out that the dimensions of a scroll are of critical importance. He writes that the “aesthetic brilliance of Japanese scrolls derives in part from its proportions. e proportions are adjusted to achieve a balance more pleasing to the eye.” is important aspect of Japanese scrolls is well illustrated in Japanese Scrolls, eir History, Art & Cra . e importance of the nuances in Japanese scrolls o en escapes the mind of many Western viewers; however, this work will help us to better appreciate the beautiful handmade scrolls of Japan.
The task of unrolling and hanging a scroll at varying times has a carefully prescribed procedure.
“Aesthetic brilliance of Japanese
scrolls derives in part from its proportions. The proportions are adjusted
to achieve a balance more pleasing to the eye.”
January/February/March 2017 | BCI | 45