José María Prieto Collection
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Differential and Labour Psychology +34 91394 3236 |
Description of Funds
The collection consists of Chinese and Japanese pieces from two traditions: Taoism and Ch’an Buddhism in China and Zen Budhism and Haiga in Japan. There are more than 180 vertical and horizontal scrolls as well as half a dozen albums. The poems written on the rolls have already been translated and also there is a partial translation of Japanese texts.
There are representative works of arts from the following authors:
Chen Jiru (1568-1639), Dai Jin (1388-1462), Ding Yunpeng (1547-1628), Domiaku Sensei (1752-1801), Dong Qichang (1555-1636), Fan Kuan (990-1020?), Fu Baoshi (1904-1965), Gong Xian (1618-1689), Gu-Luo (1763-1837), Guo-Xi (1020-1090), Hong Ren (1610-1664), Huang Joan (1775-1858), Huang-Shen (1687-1772), Huizong (1082-1135), Jiho Sugawara (1866-1956), Jin Nong (1687-1764), Kun Can (1612-1692?), Lenglia Lu (730-760), Li Shutong o Maestro Hong Yi (1880-1946), Musashi Miyamoto (1584-1645), Pan Tianshou (1897-1971), Qi Baishi (1864– 1955), Qi Gong (1912-2005), Ren Renfa (1284-1327), Sesshu Toyo (1420-1506), Shitao (1642-1707), Tang Yin (1470-1523), Wang Hui (1632-1717), Wang Meng (1308-1385), Wang Wei (701-761), Watanabe Nangaku (1767-1813), Wen Zheng Ming (1470-1559), Wu Bin (1568-1626), Wu Changshuo (1844-1927), Wu Daozi (680-740), Wu Wei (1459-1509), Xu Linlu (1916- ), Xu Xi (937-975), Zhang Daqian (1899-1983), Zhao Yong (1289-1360), Zheng Banqiao (1693-1765), Zhu Da (1626-1705).
In addition, there are artworks from Huizong Collection (1082-1135) and plenty of recognition seals, many of which belonged to imperial art cabinets
The History of the Collection
Anthropology and psychology of religion are the frame of reference to understand this collection. The collection is made up of artworks exhibited in monasteries, Zen and Taoist temples and ceremonies in which these elements are frequently changed. Many of them are gifts from teacher to pupil, mementos connecting meditation and martial arts as well as meditation and quality of personal life.
In psychological terms, the author uses "projective techniques" to express his mood and feelings through art. The subject and object are fused. Unlike the egocentric tradition that prevails in Western painting: the human figure stands out in a landscape, the artworks have an eccentric perspective: the center is all over the place.
Techniques
The predominant technique in the collection is the monochrome paintings in black ink originated in China during the Tang Dynasty and flourished in Japan during the “Muromachi” era. It is known by the generic Japanese name of “Suibokuga Sumi-e” or “Suibokuga”. The scrolls include both image and calligraphy, often with a poetic streak.
In addition there are some paintings from the style known as “Nanga or Bunjinga” that flourished during the “Tokugawa” period. The black monochrome tints prevail over the discreet colours. The paintings are made in contemplative states, with deep abdominal breathing in every brushstroke. They are watched from bottom up, in the ground and lulled into meditative state. These paintings reflect spiritual experienced by either the author or the observer.
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