zeshin造句

• Koma Kansai died in 1835, and Zeshin inherited the Koma School workshop.
• The discovery is conjectured to have been, and Zeshin's derivative.
• Upon the death of Zeshin in 1977, Shin-nyo Kawahara took the abbotship.
• Kiyochika also studied Japanese art under the great artists Kawanabe KyM
  sai and Shibata Zeshin .-->
• At age 13, the young man who would become Zeshin abandoned the name Kametaro and became Junzo.
• A red, black and gold lacquer picnic set by Zeshin serves as another good example of this revolutionary traditionalism.
• Zeshin married in 1849 and named his first son Reisai, but lost his mother and his wife both soon afterwards.
• Several of the tiny objects represented here were made by Shibata Zeshin, the premier lacquer artist of the 19th-century.
• Zeshin's signature was always quite subdued, and on occasion he would be playful with the idea of the signature.
• Zeshin later studied under other great artists of the ink painting, and produced many works of traditional subjects such as tigers and waterfalls.
• He began to concentrate on art and associated with such artists as Shibata Zeshin and Kawanabe KyM
  sai, under whom he may have studied painting.
• It was during his time with Nanrei that he was given the name Zeshin, which he would stick with for the rest of his life.
• Zeshin learned not only the basics of painting and sketching, but also Japanese tea ceremony, haiku and waka poetry, history, literature and philosophy.
• Shibata Zeshin is also closely associated with the ShijM
  school, though he worked in many other styles and mediums, most notably lacquer objects and lacquer painting.
• Beginning in 1869, Zeshin was commissioned to work for the Imperial government, and created many works of art for them which are sadly no longer extant.
• However, although he used many revolutionary elements in his work, both technically and creatively, Zeshin's works were always, on the whole, very traditional.
• Despite holding this odd reputation in Japan, Zeshin has come to be well regarded and much studied among the art world of the West, in England and the United States in particular.
• Zeshin also revived a complex lacquer technique called " seikai-ha " to produce wave forms; this technique is so difficult it had not been used for over a century.
• Zeshin compensated by using bronze to simulate the look and texture of iron, and with a variety of other substances and decorative styles to keep his work beautiful, while remaining traditional and doable.
• It has been said that much of Zeshin's work strongly represents the aesthetic concept of " iki " ( ?| ), which might be translated as " chic ".