Akari light sculptures by isamu noguchi are considered icons of 1950s modern design. Noguchi sketched the first of his most well-known works of this kind -- the mulberry paper and bamboo lamps in 1951. Handmade for a half century by the original manufacturer in gifu, japan, the paper lanterns are a harmonious blend of japanese handcraft and modernist form, as light sculptures akari develop the sculptural use of illumination that noguchi had first proposed in 1933 for his unrealized 'musical weathervane', and that he had brought to fruition with his 'lunar' sculptures and interiors during the next decade, as home furnishings akari extend the domestic application of sculptural principles that noguchi had advanced with his biomorphic furniture of the 1940s, the shades are made of handmade washi paper and bamboo
ribbing.
Noguchi on akari
My other preoccupation at this time (1952) was the development of akari, the new use of lanterns that I had conceived on my previous trip. It was a logical convergence of my long interest in light sculptures, lunars, and my being in japan, paper and bamboo fitted in with my feeling for the quality and sensibility of light. Its very lightness questions materiality, and is consonant with our appreciation today of the less thingness of things, the less encumbered perceptions.
The name akari which I coined, means in japanese 'light' as illumination. It also suggests lightness as opposed to weight. The ideograph combines that of the sun and moon. the ideal of akari is exemplified with lightness (as essence) and light (for awareness). The quality is poetic, ephemeral, and tentative. Looking more fragile than they are akari seem to float, casting their light as in passing. They do not encumber our space as mass or as a possession; if they hardly exist in use, when not in use they fold away in an envelope. They perch light as a feather, some pinned to the wall, others clipped to a cord, and all may be moved with the thought.
My other preoccupation at this time (1952) was the development of akari, the new use of lanterns that I had conceived on my previous trip. It was a logical convergence of my long interest in light sculptures, lunars, and my being in japan, paper and bamboo fitted in with my feeling for the quality and sensibility of light. Its very lightness questions materiality, and is consonant with our appreciation today of the less thingness of things, the less encumbered perceptions.
The name akari which I coined, means in japanese 'light' as illumination. It also suggests lightness as opposed to weight. The ideograph combines that of the sun and moon. the ideal of akari is exemplified with lightness (as essence) and light (for awareness). The quality is poetic, ephemeral, and tentative. Looking more fragile than they are akari seem to float, casting their light as in passing. They do not encumber our space as mass or as a possession; if they hardly exist in use, when not in use they fold away in an envelope. They perch light as a feather, some pinned to the wall, others clipped to a cord, and all may be moved with the thought.
Intrinsic to such other qualities are handmade papers and the skills that go with lantern making.
I believe akari to be a true development of an old tradition.The qualities that have been sought are those that were inherent to it, not as something oriental but as something we need. the superficial shapes or functions may be imitated, but not these qualities.
I believe akari to be a true development of an old tradition.The qualities that have been sought are those that were inherent to it, not as something oriental but as something we need. the superficial shapes or functions may be imitated, but not these qualities.
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