Cyber Museum Mouseion Thank you for your access !
| Thesis |The World of Teruo Sato |Glossary

Glossary 4

 

Written and translated by Taketoshi Murayama

Original translation is rewritten by Michiko Takahashi Christofis

 


 

Simple Color Surface

 

The Color Surface on which a single color is used.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)


Impasto

 

     The technique to lay on paints thickly or to heap them up on the canvas.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Glacis

 

     The technique of applying oil paints in the thin transparent layers.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Gradation

 

      To create the stages of changes in hue. The stages of gradual transition from bright to dark, or from pure into muddy colors are used for plastic expression.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Figure

 

      The form which a painter pictured on a drawing surface to have the appreciators concentrate their consciousness on it.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Ground

 

      The circumambient expression to bring the figure into relief.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Concentrated figure (Masse)

 

      Many figures in a cluster to take on a single meaning. It's approximately same as the one which is called "Masse" in the artistic term.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Synthetic figure

 

     A collection of many figures which displays one form. Compared with "the concentrated figure", it makes the appreciators aware of one thing clearly. For instance, the rose is the aggregate of multiple petals, but it's perceived as a single flower.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Dismembered figure

 

      The figure that composes the concentrated figures or the synthetic figures.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Pattern

 

     The state of many small figures being dotted in "the ground".
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Room

 

     The spot on the canvas where "the ground" is left; that is the place where the painter's consciousness has remained.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Lump

 

     Unification of many small figures to form one big figure. It's different from "Masse" in respect of not questioning the meaning of the unity.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Window

 

     The entrance which implies that the painter's consciousness is heading for the world different from the drawn picture. It's the part which is left without a figure until the end, when a figure is drawn one after another in the process of picture's completion. There exist some pictures which don't have the entrance.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Figurization

 

     A painter's modification of a color surface to create a new figure on a part of it. A jargon which is used only in this site.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Groundization

 

     A painter's modification of a color surface to change all or a part of it into the ground. A jargon which is used only in this site.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Primary figure

 

     The part where the object, the theme of a picture, is drawn.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Secondary figure

 

     The part where another object is drawn to serve as a foil to the object which becomes the theme of a picture.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Third figure

 

     The part where the object ornamenting the background is pictured. For instance, clouds or fog in the sky, wind patterns and hollows in a desert, a stone rolling on the earth, a curved rut, and so on.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Subsidiary figure

 

     The figure drawn by the side of the object, which was taken up as the theme of a picture by a painter, to turn the appreciators' eyes to it.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Pan-focus

 

   Originally a photographic term; the state that all the objects are uniformly in clear focus from the close range to the long distance. Applied to the picture, it indicates the technique of drawing without shading a distant object or lowering chroma. It also means that the technique doesn't use the aerial perspective.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Automatic Re-specification of the Ground

 

    When picturing some figure on a drawing surface, the blank except it automatically becomes "the ground". When a narrower "ground" around this figure is added, then the wide "ground" which the blank created first automatically reappears as the new "ground" against the narrow "ground". This is "Automatic Re-specification".
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Miniature

 

    The literal picture which is decorated minutely in details. The etymology is Latin "minium" which means "vermilion". In ancient Egypt, the red color of lead oxide was much used for the decoration of the manuscript. This technique extended to Europe and was used to make manuscripts of the Holy Bible at the monasteries. Then it was gradually diverted from the decorations of the character into the illustration. A number of pictures on the religious subject of the Holy Bible were created by the proficient artisans who had been trained in making manuscripts. The technology spread over India, Turkey, Persia and other regions as well. In particular, Persian miniatures are famous for the beauty of its color. (Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Union of Color Surface

 

     The state that the whole value, hue, and chroma are equated when plural Color Surfaces are combined.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Fusion of Color Surface

 

     Gradual change of at least one out of three elements, namely the whole value, hue, and chroma, when the plural Color Surfaces are combined.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Accumulation of Color Surface

 

     The act that Color Surface which was added to the picture for its division overlaps with the original one, when the division of some Color Surface happens.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Division of Color Surface

 

      Division of a Color Surface into plural ones. Generally, one Color Surface is overlaid with another, and at this moment the Accumulation of Color Surfacet happens. However, even if the new Color Surface is added to adjoin another, the result will be the same. It cannot be distinguished from the "Accumulation".
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


The Method of Sealing Window

 

      Sato's drawing technique for the background. He doesn't picture the entrance leading to another world such as a passage connecting a room with the outside of the house or a space on earth to view the universe. It enables him to draw the only one world on the canvas.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Soup glazing

 

     A kind of Glacis (glazing). Painting the object with thinly dissolved pigments as pre step for the regular coating in order to adjust the tone of the color. The peculiar color of the object is painted repeatedly on it. This term is conventionally used in Japan.
(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 


Beltillism

 

      Sato's technique for drawing objects. He divides the object linearly according to the value difference or the hue difference on the surface, and paints inside individually to represent the whole without repetitious color coating.(Written and translated by Taketoshi Murayama. Original translation is rewritten by Michiko Takahashi Christofis)

 

                 Home   Home for narrow band     To Glossary 1      To Glossary 2        To Glossary 3        

 

Copyright (C) 2007 Mouseion. All Rights Reserved.