Non-Western Art Critique

Nicholas Assi

June 17, 2015

Modern Culture and the Arts

Professor Bomboy

Non-Western Art Critique

            While we in the United States rarely come into contact with examples of Non-Western art, there’s no denying that the artwork of various non-European cultures can be incredible. One perfect example of this is “The Great Wave off Kanagawa”. Also known simply as “The Great Wave”, this piece is a woodblock print by the Japanese artist Katsushika Hokusai. This woodblock print was created sometime between 1830 and 1833 during the late Edo Period, and is considered Hokusai’s most famous creation (“Hokusai, Under the Wave”2014). We know the print is authentic due to the creators’ signature in the upper-left corner of the print. This woodblock print was the first print in Hokusai’s series “Thirty-Six Views of Mount Fiji”.

 A classic example of Japanese landscape painting, the print depicts a large wave threatening several boats off the coast of Japan. In the background of the print is Mount Fuji. Monti Fuji is the largest and highest mountain in Japan, and is considered both sacred, and a national symbol of the country (“Hokusai, Under the Wave”2014). Indeed, in Hokusai’s entire series “Thirty-Six Views of Mount Fiji”, the mountain is depicted in some shape or form, showing both its influence on the artists’ work and the importance of the mountain to Japanese society and culture itself. The three boats in the painting where a Japanese style of boat that back during the time the print was created were used to transport live fish (“Hokusai, Under the Wave”2014). Wooden and powered by rowers, the power of the ocean and the threat of storms and waves must have been considered extremely unnerving to the sailors and fishermen of the era, and this Woodblock print capture perfectly the power and ultimate unpredictability of the sea.

“The Great Wave itself makes use of several examples of elements and design principles. One perfect example of this Woodblock prints use of art elements is lines. The wood block print is created in the Ukiyo-e style, a genre of woodblock printing that uses a bold, well defined, flat line as a defining feature of the art style. The lines are thin yet solid, easily defining the boats amongst the waves, separating them so that they are easily seen ( “The Great Wave off Kanagawa” 2010). The lines also help to show the various waves in the ocean, while a curved line also helps to show the biggest wave and the namesake of the print, showing off its power while also giving off a realistic feel to an ocean, a large amount of waves in the endless void that is the ocean. The lines help to emphasize the forms of these breakers. The print also makes use of the element of space. The massive wave takes up a disproportionate amount of space, occupying the entire left half of the print itself( “The Great Wave off Kanagawa” 2010). The print is asymmetrical, and the eye is immediately drawn to look at the massive wave, helping it to give off an extremely powerful aura. There’s even heavy use of color. The sky is painted with a very gentle hue, helping to give off an aura of calm (“The Great Wave Off Kanagawa By Katsushika”2012.) This helps to give the print the design principle of contrast, as this gentle sky contrasts with dangerous feel of the ocean ( “The Great Wave off Kanagawa” 2010). The dark blue in the print helps to give the ocean a dangerous, unpredictable feeling. The ocean itself looks far from calm, as if on the breaking point of a storm, with the power being released in the form of the massive wave. We can even see the design principle of Proportion. In the back, in the far distance, is Mount Fuji itself. The mountain itself seems calm and quiet, but is much smaller than the wave itself, or even the boats. This helps to emphasize that the mountain is in the background, far away from the immediate vicinity of the Wave. The mountain is shown to be very distant, and the gentle white on its peak is the snow. Indeed, this goes back to the principle of contrast, as the mountain itself seems quiet and serene, free of the danger and trouble the ocean seems to give. This helps emphasize the spiritual significance of the mountain, of the gentle power and influence it had on the overall Japanese culture. It is after all, the namesake of the series.

To me the Woodblock print itself give me several different feelings, often depending on where I look and focus on within the print. The waves give me a feeling of trepidation. When a storm in the ocean begins, the area gets dark and you can see the water become more and more agitated, more restless, almost more alive with energy. The waves become bigger and bigger, until they reach the point of dangerous. This Woodblock print captures that feeling perfectly. You can see the various waves looking bigger and more aggressive than usual, with the final breaking point being the largest wave itself, moments from overturning a boat. Yet this contrasts with the feeling of Mount Fuji (“The Great Wave Off Kanagawa By Katsushika”2012.). You can see it in the background, the far distance, looking peaceful and safe. To me this emphasizes the safety of land, that on shore I would be safe from the unpredictability of the sea, never in danger of drowning or being overtaken by a massive wave. Yet to the people in the boats, getting to the land would seem impossible, that they are too far away and the wave and danger is here and now. So the feeling of hope I get from the distant land and mountain is matched by a feeling of hopelessness from the ocean and the close, massive wave. I even get a feeling of fear, as the people in the boats are hunched over, as those desperately trying to bunker down into the boat for safety, as though to avoid being tossed overboard. The people are also unsmiling. To me this shows the gravity and seriousness of their situation. However, to me the Woodblock print itself is very beautiful, and I can see why it is so famous and considered one of the greatest forms of Japanese art ever created. Its use of colors, lines, space, contrast, and proportion all fit together so well that I can’t help but be impressed by the technique and expertise of Hokusai.

“The Great Wave off Kanagawa” by Hokusai(1830-1833 during the Edo period.)

Works Cited

 “The Great Wave Off Kanagawa” By Katsushika Hokusai, or the Pathos of things in Japanese Aesthetics” louviq.wordpress.com Web. Jan 31, 2012. June 17, 2015. https://louviq.wordpress.com/2012/01/31/critique-of-the-great-wave-off-kanagawa-by-katsushika-hokusai/

“The Great Wave off Kanagawa” honolulumuseum.org Web. September 24, 2010. June 17, 2015 http://honolulumuseum.org/art/8953-the-great-wave-off-kanagawaa_z

“Hokusai, Under the Wave off Kanagawa (The Great Wave)” khanacademy.org Web. October 20, 2014. June 17, 2015 https://www.khanacademy.org/test-prep/ap-art-history/south-east-southeast-asia/a/hokusai-under-the-wave-off-kanagawa-the-great-wave

Classical Architecture Critique

Nicholas Assi

June 3, 2015

Modern Culture and the Arts

Professor Bomboy

Neo-Classical Architecture found in Hanover Pennsylvania

            Many of America’s earliest buildings were influenced by the Neoclassical architectural movement, which itself sought to replicate many Greek and Roman designs. A perfect example of this is the PNC bank of Hanover, originally the Hanover Saving Fund Society, located one block away from Hanover Square (Hanover’s caged Lion, 2015). Many early banks in America were built using Neoclassical designs, and the PNC bank is a perfect example of that (“Hanover Historic District” 1996). The building uses the Greek Ionic order of Architecture in its design, which was a much more delicate, feminine, and thinner order then the original Doric order (“The Classical Orders” 2013).  The building also has a large amount of Roman features incorporated into its design, such as the iconic eagle holding bundle of arrows, which was modeled off of the roman Fasces, and represented the power and authority of the building being a symbol of the U.S. Government.

            The PNC bank is a very clear example of the Ionic order in the manner in how the buildings pillars are designed. The pillars of the building appear to become thinner at the top, which was characteristic of both the Ionic and Doric orders. However, the use of volutes at the top of the pillars clearly classifies the building as influenced by the Ionic order (Fiero 123). The volute is a spiral, scroll like capitol of the Ionic column, and was one of the most distinguishing traits of the order. The base of the pillar also makes use of stacked rings, which was also used in Ionic architecture order (“The Classical Orders” 2013). The building even makes use of a variation of Frieze. Two human figures are designed on the building, jutting out and enhancing the overall artistic design (Fiero 125). However, there are Roman designs in the building as well. At the entrance of the building is a large arch used in the design of the window. This arch is actually framed by the variation and adaption of the Greek Frieze. The Greeks never made use of the arch design, neither for practical or cosmetic appearances (Fiero 153). Therefore this is clearly drawn from Roman inspiration. The Arch is mainly used to enhance the design of a large glass window, and increases the overall cosmetic appearance. Another, yet less direct example of Roman influence is the eagle at the top of the building. The Eagle is itself the symbol of the American government. Yet in the birds claws it holds a bundle of arrows. This clearly drew inspiration from the Roman Fasces, which was a bundle of sticks that represented power and strength, exactly what the U.S. government wanted to portray (Fiero 155). Another noteworthy thing to point out is that the pillars do not make use of fluting. Many neo-classical architects in America often omitted the fluting, so this is not entirely unusual.

            While taking pictures of this particular building, it’s very clear to me while the Ionic order was chosen. Banks were huge places of importance, especially in early America. They were the location of vast amounts of money and wealth. They were symbols of the government themselves, in that even if they were private institutions run by companies, they still represented the wealth and security a government would need to run a country. As a result they had to look strong, and using the massive pillars tied to a strong ancient culture like Greece helped emphasize these traits. Yet they also had to look elegant and artistic, to symbolize their high-class importance and the refined tastes of a confident government. The Doric order was not as elegant or refined looking as the Ionic order and the Ionic orders use of Volutes and other features helped give off a more artistic, refined look that gave off an impression of delicate, yet still strong (“The Classical Orders” 2013). Banks had replaced temples in importance, replacing ancient gods with current day money, and as such were the closest modern day equivalent of those past temples (Fiero 153). They had to look as important as possible, because banks were some of the most important places in existence, especially in early America. They were symbols of the capitalist economic system of America, and so had to be treated with respect.

            It’s abundantly clear that multiple Architects and their ideas influenced the design of the PNC Bank of Hanover. One example is the Scottish Architect James Gibbs (1682-1754). Although he was born in England, he made frequent use of architectural hybrids. He designed many churches that combined Classical and Gothic Elements (Fiero 153). Although the PNC bank was made after he died, in America, and was not a church, by showing the potential of hybrid designs, he helped establish the concept, thus making it more acceptable for architects to use the concept in their own designs. The combined Greek and Roman themes of the bank help establish it as unique, giving it an imposing, yet elegant style all its own. The hybridization of these two cultures and their art styles was clearly successful in its design.

Another individual who clearly helped influence the building is Thomas Jefferson (1743-1826). Thomas Jefferson was one of the most powerful men in early America, and was one of the richest and most influential proponents of Neoclassical design in American buildings (Fiero 155). He believed using Neoclassical design in American buildings would create a powerful and strong image for the young nation. As such, he himself designed the Virginian state capitol using these themes. Thomas Jefferson no doubt contributed to the popularity of Neoclassical influence in American buildings, and the PNC banks, strong, solid influence no doubt helps to prove Jefferson’s opinion of neoclassic style giving off a strong atmosphere as correct.

The PNC bank of Hanover definitely best represents the Greek Ionic order, with some Roman influences. This is shown by the style of pillar, the use of an arch in the design, and the strong yet elegant appearance of the building itself. Helping to serve as a middle ground between the beauty of the Corinthian order with the solid strength of the Doric order, the buildings use of Ionic features is a perfect example of everything the proponent of Neoclassicism hoped to replicate from the Greek and Roman cultures. It gives off a strong, yet elegant look to it, one of security, yet also high class. Perfect for how the early American founders envisioned a bank should be as a symbol of the U.S. government.

           

           

           

Works Cited

Fiero, Gloria K. “The Humanistic Tradition.” 6th ed. Vol. 1. New York: McGraw-Hill, 2011. Print.

Fiero, Gloria K. “The Humanistic Tradition.” 6th ed. Vol. 4. New York: McGraw-Hill, 2011. Print.

 “Hanover Historic District” Livingplaces.com Web May 8, 1996. June 3, 2015.  http://www.livingplaces.com/PA/York_County/Hanover_Borough/Hanover_Historic_District.html

“Hanover’s caged Lion” VisualRealia.com Web May 10, 2015. June 3, 2015. http://www.visualrealia.com/content/hanovers-caged-lion

“The Classical Orders” Khanacademy.org Web May 17, 2013. June 3, 2015. https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/beginners-guide-greece/v/the-classical-orders