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Muziejų lygio „giclée“ arba drobos spausdinimas: greita gamyba ir lankstios apdailos parinktys. (
Pirkti rankomis tapytą paveikslą Pirkti vaizdą)
Pasirinkite iš mūsų nustatytų dydžių, atitinkančių originalaus meno kūrinio proporcijas.
Galite nurodyti savo matmenis, kad vaizdas atitiktų konkretų rėmą ar erdvę. Jei pasirinktas dydis nesutaps su originalaus paveikslėlio proporcijomis, mes arba apkirpsime kūrinį, arba išplėsime vaizdą naudojant veideliu atspindėtą arba vientisą šoną. Skaitmeninis maketas bus išsiųstas jums patvirtinti prieš pradedant gamybą.
Atkreipkite dėmesį, kad ekrane matomas vaizdinys neatspindi tikrojo apkirpimo ar išplėtimo. Tik maketas tiksliai parodytų galutinę kompoziciją.
Nors galima rinktis ir individualius dydžius, rekomenduojame pasirinkti vieną iš išanksti nustatytų matmenų, kad būtų išlaikytos originalios proporcijos.
Pristatymas visame pasaulyje () per 2 weeks, o ne įprastas 4/5 savaičių laikotarpis. (22 rugpjūtis)
Satsuma vases
Reprodukcijos matmenys
Born in the historic ceramic heartland of Shigaraki, Japan, in 1936, Tomoyama, often known by his moniker hōzan, stands as a monumental figure in the landscape of modern Japanese art. His life’s work represents a breathtaking intersection of disparate worlds, where the disciplined precision of Japanese porcelain meets the opulent, sweeping drama of the European Renaissance. To encounter a piece by Tomoyama is to witness a dialogue between East and West, a silent conversation held through the medium of clay and glaze that transcends geographical boundaries.
The foundations of his mastery were laid in the fertile soil of Shigaraki, a region steeped in centuries of ceramic tradition. Immersed from a young age in the rigorous techniques of porcelain crafting, Tomoyama became a dedicated disciple of the venerable Hōzan Tankai lineage. This early immersion into the complexities of Satsuma ware provided him with a technical vocabulary of unparalleled depth. He mastered the delicate art of creating vibrant glaze palettes—most notably his signature use of deep crimson—and the painstaking application of intricate floral motifs that define this prestigious Japanese style.
While his technical roots are firmly planted in Japanese soil, Tomoyama’s artistic vision soared toward the Mediterranean. He found profound inspiration in the Venetian Renaissance palazzo style, an aesthetic characterized by architectural splendor, symbolic richness, and a sense of overwhelming grandeur. His work does not merely mimic these European forms; rather, it seeks to embody the very essence of the palazzo—a space where wealth, power, and refined taste are articulated through ornament and scale.
This fascination with the Venetian aesthetic introduces a unique tension to his ceramics. The expansive scale and masterful use of color found in Renaissance interiors serve as guiding principles for his compositions. By infusing the delicate, meticulous craftsmanship of Satsuma ware with the heavy, decorative majesty of the Italian Renaissance, Tomoyama creates objects that feel both ancient and avant-garde. His pieces often reflect a deliberate choice to mirror the splendor of historical power structures, using intricate ornamentation to evoke a sense of timelessness.
Beyond the surface level of decorative beauty, Tomoyama’s work is deeply intertwined with the spiritual traditions that have shaped Japan's cultural landscape. His art serves as a vessel for the Dharma, bridging the gap between material opulence and Buddhist contemplative practice. This profound engagement with spirituality has not escaped the notice of the international academic community. His contributions to the medium have been immortalized in significant scholarly works, most notably John M. Rosenfield’s influential book, ‘Preserving the Dharma: Hōzan Tankai and Japanese Buddhist Art of the Early Modern Era.’
The historical significance of Tomoyama lies in his ability to maintain the sanctity of traditional Japanese techniques while pushing the boundaries of their thematic content. He has successfully transformed the medium of ceramics from a purely decorative craft into a sophisticated language capable of expressing complex theological and historical narratives. Through his hands, the delicate porcelain of Shigaraki becomes a stage for a global epic, celebrating the enduring beauty of both the Buddhist spirit and the architectural triumphs of the West.
1936 - , Japan
Sekite naujausias meno naujienas, išskirtinius pasiūlymus ir dekoravimo idėjas.
Pasakokite mums apie savo projektą, o mūsų meno ekspertai parengs jums 3 asmeniškus meno pasiūlymus.
Leiskite mums parinkti 3 variantus būtent jums – nemokamai!
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Rentgeno nuotrauka
Automatinė diorama
Skaityti daugiau
Stiklo variantas prieinamas tik pasirinkus dydį iki 110 cm
