How to appreciate art (paintings)...?

What is the good way, if not the best way, to appreciate art?
 
I 'd say, "by kneeling in front of it."

You might think, "Well, I understand the fact that each artwork is sacred, in a way, but that sounds too much like the religious devotion and not necessary appropriate for the appreciation of art, or does it???"
 
I agree, and what I mean by "kneeling" has a bit different connotation.
 
It is one of the many ways to examine how artist may have applied the paints to the given ground.
 
We are used to looking at the painting dead on. Certainly, we can do that. It is good to appreciate the size of the painting if it is very large instead of looking at the print reproductions or an image printed in the books. It is also good to try to study the colors of each artwork by examining the actual work.
However, we may not know the true color unless you know what kind of light (lamps) each room of the museum uses. The lights we use, for instance, can be the traditional tungsten light bulbs and/or the florescent ones. In the museums, the situation may be quite different. They know that excessive illumination can cause damages to the artworks, so some museums may not use the ordinary light bulbs. Depending on the quality of the light source, the colors may appear quite differently. You may have an experience comparing several books showing the same artwork with the different colors.
On one reproduction the color on some area may appear more orange-like, for example, and from the other reproduction the same area may appear more reddish. To help seeing the true color, one can bring a color chart, too.
 
The composition can be studied off the printed materials such as any post cards and/or the images reproduced in the books.
Unless one obtain a special permission from the given museum, the close examination of each artwork is not possible. If you are too close to the artwork, it will likely trigger a security alarm.
 

A section from a painting by Bronzino (photo by Hikaru)

One can still learn a great deal from examining the artwork from the distance.
To study how much paints(with or without the emulsion) are applied in which
sections/areas, for example, can be done by kneeling down and looking up at the painting in a certain angle where the painted surface starts to shine by reflecting the light. If the paints are applied thickly, it will certainly reflect the light differently than the areas painted thinly and smoothly. At the same time, one can guess how much emulsion (i.e oil) is added to the paints by examining the reflection of the surface.

The image above is a section from Bronzino's work at Kunsthistorisches Museum in Vienna which I photographed during the recent visit to the museum.

My new website: Portraits by Hikaru

Well, I've managed to launch a new website of mine exclusively dealing 
with doing the Portrait related painting commissions.

Since I've been doing this type of art commissions, it was necessary to 
create the new site. 
Some of the visitors of my older (but main) site have expressed that 
they were confused about what I do.

...and that's fair enough... because I do many things.

Besides, I have enough works to show in the new website independent 
from my main one.

So, I hope you will enjoy visiting my new site, and perhaps giving me the 
portrait/pet portrait/memorial portrait painting commissions. 

A sample page from the website, "Portraits by Hikaru"

I can immortalize your dear ones!

Please feel free to visit the site! Portrait by Hikaru

Thank you!

Hikaru's rendition of a painting, "St John the Baptist" by Leonardo da Vinci

Who is he?

Toward the end of his life, Leonardo decides to return to the Florentine motif of using the festaiuolo. According to Michael Baxandall, a festaiuolo is a choric figure who introduce the play and remained on the stage while the paly is going on acting as a mediator who may point to what is essential and/or central on the stage. ("Painting and Experience in Fifteenth-Century Italy" Oxford University Press, 1972,  p71-73 )
Usually, the choric, angelic festaiuolo is pointing towards something and /or someone which clearly exists; however, we are not certain of what this being is pointing towards. Is it the Heaven? Dark void?
We also do not know the identity of this being.

He appears androgynous. Man and a woman in one. ...an original Adam before the separation/creation of Eve? Or is he an Angel?
Generally, this painting is known as Saint John the Baptist, but the cross and the animal skin, according to some of the experts, seem to be added later. If we mentally strip these "extra" elements, we are left with the few clues to the identity of this being.

A festaiuolo can be an angel or a human, so he can be St. John the Baptist.
We know that Christian tradition equates St. John the Baptist as Elijah like forerunner of Christ. By quoting the Old Testament (Tanakh), the New Testament Gospels equates St. John as the messenger who is sent before Christ/Moshiah(Messiah).
It is interesting to know that the word for an "angel" in either Hebrew (  מלאך ), Aramaic ( ܡܠܐܟܐ   ), or Greek ( αγγελον )also has a meaning, a "messenger".

The being in this painting seems to be pointing towards the point of origin. Is it the Garden of Eden where we may have fallen?
Or, one can see it as where we were born/created (a womb like place)
.. and perhaps the place we do return after death.

Perhaps this is a youthful angel of death imagined by Leonardo to take him to the world after life. It was towards the end of his life when he began painting this image and supposedly have brought it over the Alps to France.
This being is putting his left hand on his heart as if to swear that he is there to show Leonardo the way back(?)without deception and to take him on his last adventure/journey 'home.' This youthful being with the gentle gesture and a bit mischievous smile may be the combination of his beloved Melzi, and Salai. It may also be that this being is Leonardo himself in his youth, since the being is placing his "left" hand on his chest, not just showing the gesture to swear, but to remind us that it is "he," Leonardo, who had painted and created this picture, an inner self, who is the reflection of  "Imago Dei"...   {The painting at the top of this blog is my rendition of Leonardo's "Saint John the Baptist," and I have titled it as "Angelos" (angel/messenger) © Hikaru Hirata - Miyakawa}  

Throwback Thursday - Society Magazin article

Happy New Year to you all!
May this year bring you much joy and prosperity!

Today, I'd like to share something from the past as "Throwback Thursday."

Back in 2011,I was featured in the issue 357 of the Society Magazin in Austria. 
The magazine is related to United Nation and embraced by the heads of the government/state, the diplomats, and the powerful members of the high society in Austria and beyond, so I, as an artist in Boulder, Colorado, am very honored to be introduced into such circle of people. 
It briefly mentions about my interest in the life and the works by Leonardo da Vinci.
In fact the index on page 6 introduces the article with the title, "Universalkünstler Hikaru (Universal Artist Hikaru)" !
The magazine is published in two forms, physical and online, so I would love to inform you the direct link to the site. It is from the page 106 to 108.

It is also wonderful to be next to the article about the music festival directed by Ricardo Muti, an accomplished Symphony conductor!

The articles are usually written in German, but they have kindly written about me in English.

Please feel free to visit the site and read the online article!

http://mag3.i-magazine.de/imag/SOCIETY_Magazin_357/#/106 

 Thank you Society Magazin!

オーストリア国の、外交官、有力者、ハイ・ソサエティー　のメンバーの方々の間ではお馴染みの、Ｓｏｃｉｅｔｙ　 Ｍａｇａｚｉｎの３５７号誌に私に関する記事が紹介されております。　オンラインでもご覧頂けるので、もしよろしければ、お読み下さい。　普通は、ドイツ 語主体で書かれておりますが、今回は、態々英語で紹介して頂いております。　

海外に住む日本人として、大変有難いことと思います。

Why I love accepting the art commissions

I love accepting the art (painting and drawing) commissions, for I am able to know the mind of the client 

and realize his/her idea on this material world. ...making ideas (non-thing) of others 
into the tangible reality (thing). 
At a time, I have gladly accepted the "Memorial Portrait" (portraiture) paintings and drawings because I can imbue the artwork with the feeling of "immortality" to the person who had crossed the threshold, and sometimes it brings the healing to the loved ones.
If you have not done this, you are missing out on the wonderful feeling full of satisfaction!

"Remembering Celeste" - a "memorial portrait" painting in acrylic by Hikaru Hirata-Miyakawa

At a time, I sacrifice my "ego," so to speak, for the sake of serving the others' need  

and use my skills (originally given as the gift from the divine) for the good for the 
others. 

Letting go of my ego and letting go of my "style" is the "practice". 

I sometimes prefer these commissioned works to my own creations.
The need of my ego to express myself yields to the needs of the others. 

After all, all the great masters of the Italian Renaissance I admire had served the 
needs of the others, their Patrons.
Although not in the same magnitude, I am able to experience minute aspects of what 

those creators may have gone through... their struggles and the feeling of 
satisfaction...

It is the privilege to be entrusted of such importance - someone's vision. 

The work is manifested out of the tight team work and the deep trust in each other.

Being given such art commission in-itself is an honor.

Mural art commission sample by artist Hikaru in Boulder

Having said that, it does not mean it is always easy and cheerful, and I am not 
talking about the skill required. That's a given!

The difficulty arise when the one who commissions and the one who accepts have the 

different ideas. In order to complete the birthing of artworks, neither party can exercise 

ego-inflation. Neither party can bulldoze the other away. It is the exercise in diplomacy.

The great works of art, the timeless art almost always have served the need of the "other" 

humans (humanity) and/or created for the greater good. 

It is birthed through the struggle of the creator (painter, sculptor, etc) within trying to balance

the need of his/her ego on one hand and the need of the humanity (and beyond - universe) 

on the other. 

Whenever I see the smile out of satisfaction on the clients' and patrons' faces after they see 

the completed works, I feel joy within, and I am also deeply satisfied.

...and that's my job... and I'm just doing my job.  

Happy New Year to you all!

I hope this year, 2013, would bring joy and prosperity to you and your dear ones.

Thank you very much for your warm support throughout 2012.

For me, the year 2012 was a transformational year especially regarding my artistic direction. I have literally gone through the "death and rebirth" process intensely especially

since last June, so I have decided to share my process with you. 

Since the beginning of the year 2012, I was aware of the process of metamorphosis within me.

At the same time, I was realizing that I have reached the top of one mountain, so to speak.

"Dancing Ganesha"

Although I could have keep going the way I was going with many sketched almost ready to be materialized,  I felt the need for the change in the statusquo. This could mean the end of my Mannerist expression, but some how I felt it was necessary to "graduate" being Pontormo of the 20th/21st century and get on with my life. By the way, Pontormo was under the wing of my beloved master, Leonardo da Vinci!  Of course, I had no intention of stopping mycareer as an artist, so I went on the soul quest - the quest for the new expression. Consequently, "Dancing Ganesha" became the last of the Mannerist series. 

First thing I did was to move away from my habitual creative process and began experimenting with the abstract way of expressing myself. It was not a brand new experience, for I have painted abstractly before. I also tried other forms of expression. 

Soon I realized the voice telling me what to do, and it was rather a "rigid",inflexible, dogmatic voice. This voice was not an intuitive one. It was a habitual one. It was telling me what I "should" do instead of what I "could" do. For example, my voice would tell me to strictly stick with the non-recognizable form (even when I see the potential to bring out the familiar forms) since I am doing an abstract painting. To listen to this voice had meant that I had to become less (or least) spontaneous and/or playful in my creative process. Since one of my reasons for going through with this informational journey is to free myself from self inflicting dogma, I allowed the recognizable form to come out. (By saying this, I do not imply that I have not been playful in the past. No, I have been.) 

Within two months, I came to the symbolic threshold. To cross it was like crossing the Rubicon river. Entering the competition sponsored by WPA to do with the QR Code was such crossing to me since one of the agreements the artists had to make in order to participate in this exhibition was to agree to let the artwork being defaced/destroyed. 

for the WPA exhibition

I agreed with it feeling that this would be my symbolic crossing of the threshold. It was interesting to know that my work was accepted right away. The acceptance message came earlier than the designated date! I took this as the big sign of "OK" from the Universe and God.

"Tohu wa Bohu"

Destruction can be followed by creation. 

I went through the "Tohu-wa-Bohu" stage. Then one day, one of my dear friends who saw one of my experimental paintings said something, and it has acted like the "Let there be light (enlightenment)!" call out.

"Ryu-gu Castle"

After that moment, the separation of upper and lower water event happened. 

I knew that the heaven/firmament in Hebrew, Ha-Sh-Mayim, contains the word,Mayim (water/sea). Mary the Mother,  whom I have painted many times with sort of a devotion, has the name meaning "bitter sea" (Maryam).  I recalled the near drowning experience in the sea followed by self rescuing effort. I realized my late-father's name means "illuminating (illumination of) the sea/ocean". I also have worked as a chef at the sushi restaurants...etc., etc., etc. ... all of these events and experiences led to me to the theme: sea/ocean!

It was like putting the dormant and missing pieces of puzzle together, and itoccurred during the Year of Water Dragon and followed by the year 2013 as the year of Water Snake!

I also have heard that there are more people on the moon than the people who had explored the deeper part of the ocean. I felt the need to bring the awareness of the people to the ocean, our mother and her creatures.

"Whale"

In the year 2011, Japan had suffered the disaster - earthquake followed by Tsunami and the failure of nuclear power plant causing the radioactive pollution. 

It is most appropriate for me as Japanese artist to pray for the safety of my people and for the safe journey of the departed souls through my artistic activities. It is as if I am appeasing the Japanese sea god, Wadatsumi.

"Wadatsumi"

I also have added the new dimension (from exclusively 2D creations to more 3D creations)  to my artistic activities using the paper (tree derived) products both new and the recycled. 

These creations will soon be revealed when it is ready. 

The solo exhibition which opened in the beginning part of December is going well. I am hearing many complements so far and am thankful.

I know that my informational journey is continuing, but for now, I am continuing painting with the sea/ocean as the theme, and I KNOW in my heart and soul that I am no the right path.

All the artworks above: © 2012 by Hikaru Hirata-Miyakawa

All rights reserved.

The Last Supper and the Holy Thursday

Today is a special Thursday before Easter.

It is usually understood as a day when the final supper - the "Last Supper" took place with Yeshwa (Jesus) and the 12 disciples. (There are other theories regarding the nature of this supper, and some are claiming that this was not the Passover Seder.)

Each year around this time, I contemplate about this sacred Thursday in relation to the mural of the Last Supper painted by Leonardo da Vinci in the church of Santa Maria delle Grazie in Milan.

. 

Between 1995 and 1999, I have painted the mural of the Last Supper based on Leonardo's brilliant work at the high school where I was teaching back then. I have spent around 2,000 hours total to complete this painting.
（これは私がまだボールダーのシュタイナー高校で教えていた頃２０００時間を費やして描いた、レオナルド・ダ・ヴィンチの「最後の晩餐」をベースに画いた「複製」壁画。師レオナルド大先生と私の生徒達に捧げた。）

Hikaru has created the mural based on "The Last Supper" by Leonardo da Vinci 「最後の晩餐」

I see the immaturity in my technique and the interpretation to the point that if I were to paint the mural again, I would have done it differently.

What I wanted to share today is not about my painting, but the environment where Leonardo's original is located. Back in the days of Leonardo, this room was used as a dining room for the Dominican monks. Whether the monks actually took meal or not, I do not know, and if so, I also do not know whether they ate silently or not. Either way, it must have invoked the special feelings to be in the middle of the room between the 2 large murals depicting the meaningful, intense scenes from the Gospels. 

It is easy to focus upon the now faded but magnificent mural by Leonardo, but there is another mural on the opposite (south) side of the room facing the Last Supper.

It is depicting the crucifixion of Yeshwa with 2 thieves surrounded by the multitude of people. 

This mural was painted by Giovanni Donato da Montorfano, and Leonardo was said to have painted the family of his patron, Ludovico il Moro (now also faded).

Anyone standing between the 2 murasl with the keen sense would notice that he/she is standing in the timeline between the 2 major events, one on Thursday early evening and the other one on Friday afternoon when Yeshwa had expired on the cross.

Then, what did take place between the supper and the crucifixion?

If we stick with the Gospels, we are reminded of the story of the agony in the Garden of Gethsemane followed by the "delivering-up" of Yeshwa by Judas. I say delivering-up instead of using the word "betraying" because in both Koine Greek and Aramaic, the word translated as "betraying" is actually "deliver-up".
( The word for betrayal in Aramaic is different.) 

Then, Yeshwa was challenged by Caiaphas and Pontius Pilate. Yeshwa was also mocked and shamed. 

Meanwhile, most of the disciples departed him, and Peter did deny knowing him. 

Barabus was forgiven, and Yeshwa was condemned to death. Then, Yeshwa walked along the stations of the cross (i.e., the miraculous story of Veronica's veil). 

Eventually, he was crucified and uttered the 7 Last words before he expired. 

Anyone visiting the room can contemplate what the monks in those days may have contemplated. One of the themes may be the acceptance of enormous challenges (responsibilities), agony, humiliation, and death (symbolic) in one's life before the triumphant rebirth.

Leonardo during his life also had faced numerous challenges. On some occasions, he was humiliated as well, but he kept on going and endured. 

I wonder what went on in his mind (and through his heart )while he was composing and executing this mural.

I sincerely hope that we can embrace the given challenges, whatever that may be, and not only overcoming them but to transform ourselves and keep shining our inner beauty towards the world in this auspicious year of 2012!