The Japanese neotraditional renewal of Tenmyouya Hisashi

Nihonga, classical Japanese painting, has received a boost with the work of this Tokyo artist who seeks to renew tradition without sacrificing it.

He was born in Tokyo in February 1966 and shortly after working as an art director for a record label, he realized that his world was undergoing renewal, but not music, but Nihonga (literally "Japanese-style paintings"). . The only thing missing was how, but really he just had to do the most logical thing: continue the legacy.

Intertwining thought / 2009 / Acrylic and gold Print on wood / 180×165cm

Tenmyouya Hisashi's own style

Tenm youya Hisashi mixed all those techniques and models of imperial Japan - actually much older, but they were named in the Meiji era (1868 - 1912) - and the result is the 'Neo Nihonga', as he himself defined in 2001, an antithesis of that one, since it uses new materials such as acrylic paint, at the same time that it does not hide its origins in the Japanese classical tradition.

New / Jun 2004 / Acrylic on wood / 150×119cm

It was an alternative field that he has been cultivating even to develop the spirit of Ukiyo-e, the xylographic engraving technique that is so closely associated in the mind with Japanese printing and, above all, with what Hisashi has called since 2010 'Basara', a extension of the almost glamorous beauty of prototypical decorative elements, such as samurai.

Nine Kamakura Samurai / 2001 / Acrylic on wood / 59.8 × 42cm
Para-para Dancing (Great Empire of Japan) vs. Break-dancing (America) / 2001 / Acrylic on wood / 59.8 × 42cm
Kylin / 2004 / Acrylic on wood / 150×119cm

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