sexta-feira, 4 de maio de 2018

Song Dynasty Kiln Black Glaze Oil Drop Bowl Guanfu Museum Collection. - Dinastia Song Kiln Black Glaze Colecção de Gota de Óleo Guanfu Museum Collection. - 宋代 建窑黑釉油滴碗 观复博物馆藏 - 宋王朝黒釉油滴鉢玄府博物館コレクション

Jianye is our own title. In the past, there was another title. We didn't use it. Japanese people still use it. It is called "transmutation." This word was later used by China. Japan has been using it. When you look up the Japanese ceramic book, you must write the word "transformation." Later, many people thought that the word was Japan, but it was not. It was our own, and it later spread to Japan.




There is also a more interesting name, called "day head." What is the origin of Tianmu? There are innumerable kinds of arguments, but the closest to the facts and the most convincing argument is that the tea sets that Japanese monks brought back from China were obtained from Mount Tianmu in Zhejiang. This argument is more convincing and easily convincing. 
 
The Japanese monks bring Chinese tea sets and tea drinking methods to Japan. They are called "day heads." Now that it has been extended, all black porcelain in the Song Dynasty is called Tianmu Porcelain.


In Japan, there is a famous Jianye. The texture is particularly strange. It is neither an oil droplet nor an embarrassment. Even the name does not come out. The Japanese call it the "Changing Tianmu Tea Bowl" and it is regarded as a national treasure. When I was in Japan, I saw Japanese attitude toward Jianye that was completely different from us. We have seen many things. It is not new to watch this thing. It is not such a dark tea bowl. When the Japanese arrived there, they first bent over and bowed, and they were cautious about carrying them. They were completely different from ours. I think that we may be because our family is big and big and so rich that we don’t have anything to do with it and we don’t understand it enough. Because Japan has a narrow geographical area and its past culture is foreign, it has a special respect for culture. I was very touched when I saw the scenes.

(Source "Ma's say ceramics")

All Song Dynasty black porcelain Japan is called Tianmu porcelain.
 
Source: New Express
Ma Weidu


fonte: @edisonmariotti #edisonmariotti


 "Eu só quero pensar no futuro e não ficar triste." Elon Musk.
-
"I just want to think about the future and not be sad." Elon Musk.


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Say no to fake News!

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Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing

Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir.
--br via tradutor do google
Dinastia Song Kiln Black Glaze Colecção de Gota de Óleo Guanfu Museum Collection
 
Jianye é o nosso próprio título. No passado, havia outro título, nós não usávamos, os japoneses ainda o usam, é chamado de "transmutação". Esta palavra foi usada mais tarde pela China, e o Japão a usa. Quando você procura o livro de cerâmica japonesa, precisa escrever a palavra "transformação". Mais tarde, muitas pessoas pensaram que a palavra era o Japão, mas não era, era nossa e depois se espalhou para o Japão.


Há também um nome mais interessante, chamado "cabeça do dia". Qual é a origem de Tianmu? Existem inúmeros tipos de argumentos, mas o mais próximo dos fatos e o argumento mais convincente é que os kits de chá que os monges japoneses trouxeram da China foram obtidos do Monte Tianmu, em Zhejiang. Este argumento é mais convincente e facilmente convincente.  


Os monges japoneses trazem conjuntos de chá chineses e métodos de beber chá para o Japão. Eles são chamados de "chefes de dia". Agora que foi estendido, toda a porcelana negra da Dinastia Song é chamada de Porcelana de Tianmu.

No Japão, há uma famosa Jianye, a textura é particularmente estranha, não é nem uma gota de óleo nem um constrangimento, nem mesmo o nome aparece.Os japoneses a chamam de "Mudando a Tigela de Chá Tianmu" e é considerada um tesouro nacional. Quando eu estava no Japão, vi uma atitude japonesa em relação a Jianye que era completamente diferente de nós. Temos visto muitas coisas, não é novidade para assistir a essa coisa, não é uma tigela de chá tão escura.  


Quando os japoneses chegaram lá, eles se inclinaram e fizeram uma reverência, e foram cautelosos quanto a carregá-los, pois eram completamente diferentes dos nossos. Acho que podemos ser porque nossa família é grande, grande e tão rica que não temos nada a ver com isso e não entendemos o suficiente. Como o Japão tem uma área geográfica restrita e sua cultura passada é estrangeira, ela tem um respeito especial pela cultura. Fiquei muito emocionado quando vi as cenas.

Toda a porcelana preta da dinastia de canção Japão é chamada porcelana de Tianmu.
 (Fonte "Ma's say ceramics")Fonte: New Express

-Ma Weidu



--chines
宋代 建窑黑釉油滴碗 观复博物馆藏


  建盏是我们自己的称谓。过去还有一种称谓,我们不用了,日本人还在用,叫“曜变”。这个词后来中国不怎么用了,日本一直在用。你查日本的陶瓷书,一定写“曜变”两个字。后来很多人认为这个词就是日本的,其实不是,是我们自己的,后来传到日本。

  还有一个名字更有意思,叫“天目”。天目是什么来历呢?有无数种说法,但最接近事实、最能让人信服的说法,就是当年日本僧人从中国带回的茶具,是从浙江的 天目山得到的。这个说法比较有说服力,容易让人信服。日本僧人把中国茶具以及喝茶的方法带到日本,顺理成章叫做“天目”。现在引申出去,凡是宋代黑色的瓷 器,日本都叫天目瓷。

  日本有一件著名的建盏,纹理特别奇怪,既不是油滴,也不是玳瑁,连名字都起不出来了,日本人就叫“曜变天目茶碗”,视为国宝。我在日本时见过日本人对建盏 的态度,跟我们完全不一样。我们见过的东西多了,看着这东西不新鲜,不就这么一个黑茶碗么,有啥了不得的,都这态度。日本人到那儿,先弯着腰鞠个躬,端着 都小心翼翼,跟我们的态度完全不一样。我就觉得,我们可能是因为家大业大,太富有了,所以拿什么都不当事儿,对这些东西理解也不够深。日本由于地域褊狭, 过去的文化都是外来的,所以对文化反而特别尊重。当时我看到那些景象,非常受感动。

  (来源《马未都说陶瓷》)

  来源:新快报


凡是宋代黑瓷日本都叫天目瓷.

-
马未都






--japones via tradutor do google
宋王朝黒釉油滴鉢玄府博物館コレクション

Jianyeは私​​たち自身のタイトルです。過去にはもう一つのタイトルがありましたが、私たちはそれを使わず、日本人はまだそれを使用しています。この言葉は後で中国によって使われました。日本はこれを使っています。日本の陶芸の本を見るときは、「変態」という言葉を書く必要があります。その後、多くの人がその言葉は日本だと思っていましたが、それは私たちのものでした。「デイ・ヘッド」と呼ばれるより面白い名前もあります。天武の起源は何ですか?無数の種類の議論があるが、事実に最も近く、最も説得力のある議論は、日本の修道士が中国から持ち帰ったお茶セットが浙江省の天武山から得られたということである。この議論は、より説得力があり、容易に説得力があります。日本の修道士は中国のお茶セットやお茶の飲み方を日本にもたらし、「デイヘッド」と呼ばれています。それが拡張されたので、宋代のすべての黒い磁器は天武磁器と呼ばれています。日本には有名な嘉義がありますが、そのテクスチャーは特に油滴や恥ずかしさではなく、名前は出ていません。日本人は「変化する天武茶碗」と呼んで国宝とみなされます。私は日本にいた時、私たちとはまったく違う日本の姿勢を見た。私たちは多くのことを見てきました。このことを見るのは新しいことではありません。日本人がそこに着いたとき、彼らは最初に曲がって弓を振り、彼らはそれを運ぶことに慎重だった。彼らは私たちとはまったく異なっていた。私たちの家族は大きく、大きくて豊かで、私たちは家族とは関係がなく、十分理解できないからです。日本は狭い地理的領域を持ち、過去の文化は外国人であるため、文化に対する特別な敬意を払います。私はシーンを見たときにとても感動しました。(出典:「Ma's say Ceramics」)ソース:新エクスプレス
すべての宋王朝の磁器の日本は、天武陶器と呼ばれています。 - 馬偉大

Metropolitan Museum show will feature costumes and 15 papal pieces as well as Versace and Chanel looks. - Mostra do Metropolitan Museum terá trajes e peças de 15 papados além de looks de Versace e Chanel

Fashion and religion. Two subjects that seemingly have nothing to do (but which have much more than we imagine) serve as the guiding thread for the newest exposition of the Metropolitan Museum of New York, Heavenly Bodies: Fashion and the Catholic Imagination : Fashion and Catholic Imagination), which opens to the public on Thursday, 10.

1

 
Fragment of a mosaic floor with the personification of Ktisis, work of the collection of the museum that integrates the exhibition 'Heavenly Bodies' Photo: Divulgação Metropolitan Museum of Art.

Divided into two spaces, part of the galleries of the museum on Fifth Avenue, part of the "cloisters" in the northern part of Manhattan, the thematic show reveals the intense dialogue between fashion, medieval art and the Catholic Church, mixing luxury designer creations , such as Versace, Dior and Givenchy, Byzantine works of art from the museum collection, and Vatican garments and accessories.


2

 
Vest of a statue of the Virgin of El Rocio made by Yves Saint Laurent, in 1985 Photo: Courtesy of The Metropolitan Museum of Art / Digital scanning Katerina Jebb

"Fashion and religion have long been intertwined, mutually inspiring and informing one another," says exhibition curator Andrew Bolton. "Despite being a complex and sometimes contested relationship, it has produced some of the most inventive and innovative creations in the history of fashion."

About 40 pieces of the sacristy of the Sistine Chapel, many of them borrowed by the Vatican for the first time, will be in the exhibition spaces, such as robes, rings and tiaras of 15 different papacies from the 18th century to the beginning of the 21st century, as well as works of art from the Met collection and 150 sets of clothing from the early 20th century to today. Among the creations, looks from designers Cristobal Balenciaga, Gabrielle Chanel and Gianni Versace, Dolce & Gabbana, Jean Paul Gaultier and John Galliano for Dior, as well as Craig Green, Demna Gvasalia, Rick Owens, Raf Simons and Thierry Mugler.

3





The golden and the cross, two recurring elements in the Christian imaginary, in the Gianni Versace dress of autumn-winter 1997-98 Photo: Courtesy of The Metropolitan Museum of Art / Digital scanning Katerina Jebb

Before opening to the public, on Monday, 7, the museum holds a gala charity event, one of the most fashionable red carpets of the year for fashionistas.

4



A John Galliano-inspired creation in papal robes for the Dior autumn-winter couture 2000-2001 Photo courtesy The Metropolitan Museum of Art / Digital scanning Katerina Jebb

5




Dolce & Gabbana Byzantine Autumn-Winter 2013-2014 Theme Photo: Picture courtesy The Metropolitan Museum of Art / Digital scanning Katerina Jebb

6




A Byzantine cross, from the early 1000s, used in processions Photo: Divulgação The Metropolitan Museum of Art

7




Adam, Eva and paradise in the summer dress 2014 of Valentino by Maria Grazia Chiuri and Pierpaolo Piccioli Photo: Courtesy of The Metropolitan Museum of Art / Digital scanning Katerina Jebb



fonte: @edisonmariotti #edisonmariotti


 "Eu só quero pensar no futuro e não ficar triste." Elon Musk.
-
"I just want to think about the future and not be sad." Elon Musk.


This report is guaranteed to verify the address of the LINK above
Say no to fake News!

Esta reportagem tem a garantia de apuração do endereço do LINK acima.
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Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing

Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir.
 --br
Mostra do Metropolitan Museum terá trajes e peças de 15 papados além de looks de Versace e Chanel .

Moda e religião. Dois assuntos que aparentemente não têm nada a ver (mas que têm muito mais do que imaginamos) servem de fio condutor para a mais nova exposição do Metropolitan Museum de Nova York, Heavenly Bodies: Fashion and the Catholic Imagination (em tradução livre, Corpos Celestiais: Moda e Imaginação Católica), que abre para o público na quinta, 10.

1
Fragmento de um piso de mosaico com a personificação de Ktisis, obra do acervo do museu que integra o conjunto da exposição 'Heavenly Bodies' Foto: Divulgação Metropolitan Museum of Art.

Dividida em dois espaços, parte nas galerias do museu na Quinta avenida, parte nos “claustros”, na parte norte de Manhattan, a mostra temática quer revelar o intenso diálogo entre moda, arte medieval e a Igreja Católica, misturando criações de grifes de luxo, como Versace, Dior e Givenchy, obras de arte bizantinas do acervo do museu e peças de roupas e acessórios do Vaticano.


2
Veste de uma estátua da Virgem de El Rocio feita por Yves Saint Laurent, em 1985 Foto: Imagem cortesia The Metropolitan Museum of Art/ Escaneamento digital Katerina Jebb

“A moda e a religião se entrelaçam há muito tempo, mutuamente inspirando e informando uma à outra”, diz o curador da exposição Andrew Bolton. “Apesar de ser uma relação complexa e às vezes contestada, ela produziu algumas das mais inventivas e inovadoras criações na história da moda”, completa.

Estarão nos espaços expositivos cerca de 40 peças da sacristia da Capela Sistina, muitas delas emprestadas pelo Vaticano pela primeira vez, como vestes, anéis e tiaras de 15 diferentes papados do século 18 ao início do 21, além de obras de arte da coleção do Met e 150 conjuntos de roupas do início do século 20 até hoje. Entre as criações, looks dos estilistas Cristobal Balenciaga, Gabrielle Chanel e Gianni Versace, Dolce & Gabbana, Jean Paul Gaultier e John Galliano para Dior, além de Craig Green, Demna Gvasalia, Rick Owens, Raf Simons e Thierry Mugler.

3
O dourado e a cruz, dois elementos recorrentes no imaginário cristão, no vestido Gianni Versace do outono-inverno 1997-98   Foto: Imagem cortesia The Metropolitan Museum of Art/ Escaneamento digital Katerina Jebb

Antes da abertura ao público, na segunda, 7, o museu realiza um evento de gala beneficente, um dos mais badalados red carpets do ano para fashionistas.

4
Uma criação de John Galliano, com inspiração em vestes papais, para a alta-costura do outono-inverno 2000-2001 da Dior Foto: Imagem cortesia The Metropolitan Museum of Art/ Escaneamento digital Katerina Jebb

5
Vestido de temática bizantina do outono-invermo 2013-2014 da Dolce & Gabbana Foto: Imagem cortesia The Metropolitan Museum of Art/ Escaneamento digital Katerina Jebb

6
Uma cruz bizantina, do começo dos anos 1000, usada em procissões Foto: Divulgação The Metropolitan Museum of Art

7
Adão, Eva e o paraíso no vestido do verão 2014 da alta-costura da Valentino por Maria Grazia Chiuri e Pierpaolo Piccioli Foto: Imagem cortesia The Metropolitan Museum of Art/ Escaneamento digital Katerina Jebb




http://emais.estadao.com.br/noticias/moda-e-beleza,relacao-entre-religiao-e-moda-e-tema-de-exposicao-em-nova-york,70002292227

MOCA. Museum of Contemporary Art of Thai. Bangkok, Thailand. - MOCA. Museu de Arte Contemporânea da Tailândia. Banguecoque, Tailândia. - พิพิธภัณฑ์ศิลปะร่วมสมัยแห่งประเทศไทย กรุงเทพมหานครประเทศไทย.

This is the place where a long yet interesting history of Thai art is recorded and a perfect combination between the extraordinary traditional Thai art and the academic art known internationally is demonstrated.





Inside contemporary art by Thai artists from different generations is exhibited so that from now on Thai uniqueness of art will be introduced worldwide.


Love, faith and loyal to national institution, religious and the king have been reflected through various works of arts since ancient times. Thus, the original works of arts portray the ideally beauty that worthy with the main institutions highly respected by all Thai people. When the era had changed, same with the works of arts, it was one person who was the key and played the important role of changing the aspect of arts in Thailand.




That person was Professor Silpa Bhirasri (Corrado Feroci), Italian sculptor, who created painting and sculpture courses at Praneet Silpa School which had been changed to Silapakorn University later.




Professor Silpa Bhirasri held to the philosophy “ARS LONGA VITA BREVIS” and used Academic Art to teach his students to improve theirs art skills to the same level as other civilization countries. And by doing so, he was praised to be “Father of Thai Contemporary Arts” The works of arts that received an influence from what Professor Silpa had taught have reflected belief, faith and era revolution which can be compared as a big mirror reflecting both cultural prosperity in Buddhists and civilization of the country.



The long history of Thai arts has been assembled at Museum of Contemporary Art which had been established from “the passion of arts” that Mr.Boonchai Bencharongkul has. But the main reason why Mr.Boonchai built this museum was to celebrate and appreciate the great favor of King Rama 9 and to honor “Father of Thai Contemporary Arts” or Professor Silpa Bhirasri.

 


From a design standpoint, the building portrays the idea that it has been aesthetically carved from a single piece of granite. The most striking feature of the building is the openwork carvings which adorn either side of the facade, resembling enchanting plumes of jasmine cascading down the wall. The gaps between the jasmine plumes let in natural light tracing the patterns of the carved walls on the floor of the atrium, while revealing in full measure the excellence of the workmanship which can give a different feeling in different seasons.










fonte: @edisonmariotti #edisonmariotti


 "Eu só quero pensar no futuro e não ficar triste." Elon Musk.
-
"I just want to think about the future and not be sad." Elon Musk.


This report is guaranteed to verify the address of the LINK above
Say no to fake News!

Esta reportagem tem a garantia de apuração do endereço do LINK acima.
Diga não às fake news!

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing

Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir.



 --br via tradutor do google
MOCA. Museu de Arte Contemporânea da Tailândia. Banguecoque, Tailândia.
Este é o lugar onde uma longa história da arte tailandesa é registrada e uma combinação perfeita da arte tailandesa e da arte acadêmica conhecida internacionalmente é demonstrada.
Dentro da arte contemporânea de artistas tailandeses de diferentes gerações é exibido de modo que a partir de agora a singularidade da arte tailandesa será introduzida em todo o mundo.
Amor, fé e lealdade à instituição nacional, religiosa e ao rei foram refletidos através de várias obras de arte desde os tempos antigos. Assim, as obras originais das artes retratam a beleza ideal que é altamente respeitada por todos os tailandeses. Quando a era foi alterada, foi o papel fundamental desempenhado pela mudança do aspecto das artes na Tailândia.
Essa pessoa era Professor Silpa Bhirasri (Corrado Feroci), escultor italiano, que criou cursos de pintura e escultura na roomates Praneet Silpa escola tinha sido mudado para a Universidade Silapakorn mais tarde.
A professora Silpa Bhirasri foi mantida na filosofia de "ARS LONGA VITA BREVIS" e usou arte acadêmica para ensinar as habilidades de seus alunos ao mesmo nível de outros países da civilização. E ao fazer isso, ele foi elogiado por ser "Pai das Artes Contemporâneas Tailandesas". As obras de arte que receberam influência do que o professor Silpa havia ensinado uma crença refletida, fé e era da revolução. prosperidade em budistas e civilização do país.
A longa história das artes tailandesas foi estabelecida no Museu de Arte Contemporânea que o Sr. Boonchai Bencharongkul tem. Mas a principal razão pela qual o Sr.Boonchai construiu este museu é celebrar e apreciar o grande favor do Rei Rama 9 e honrar o "Pai das Artes Contemporâneas Tailandesas" ou o Professor Silpa Bhirasri.
Do ponto de vista do design, o edifício retrata a ideia de que ele foi esteticamente esculpido em uma única peça de granito. A característica mais marcante do edifício são as esculturas a céu aberto que adornam ambos os lados da fachada, lembrando as plumas encantadoras de jasmim caindo em cascata pela parede. Os espaços entre as plumas de jasmim deixar entrar luz natural traçando os padrões das paredes esculpidas no chão do átrio, enquanto revela em plena medida a excelência dos roomates acabamento pode dar uma sensação diferente em diferentes estações do ano.






--th
พิพิธภัณฑ์ศิลปะร่วมสมัยแห่งประเทศไทย กรุงเทพมหานครประเทศไทย.

พิพิธภัณฑ์ที่เก็บบันทึกรวบรวมประวัติศาสตร์ทางศิลปะไทยที่น่าสนใจ เกิดขึ้นจากรากฐานทางวัฒนธรรมอันยาวนานและองค์ความรู้ทางศิลปะแบบสากล โดย ศาสตราจารย์ศิลป์ พีระศรี ประติมากรชาวเมืองฟลอเรนช์ ประเทศอิตาลี อันก่อให้เกิดเป็นงานศิลปะไทยร่วมสมัย ที่เป็นที่ยอมรับในระดับนานาชาติ ว่าประเทศไทยเป็นชาติที่มีอารยะ

งานศิลปะที่จัดแสดงในพิพิธภัณฑ์ขณะนี้เป็นผลงานทัศนศิลป์ จากศิลปินหลายรุ่น ซึ่งทุกๆ ผลงานถือเป็นงานระดับชั้นครู จะยืนหยัดได้ถึงความมุ่งมั่นของศิลปินไทย ในการคงไว้ซึ่งเอกลักษณ์ไทยอย่างเหนียวแน่น

ตั้งแต่สมัยโบราณ ความรัก ศรัทธาและจงรักภักดีในสถาบันชาติ,ศาสนา และพระมหากษัตริย์ ได้สะท้อนผ่านผลงานศิลปกรรมไทยหลากหลายรูปแบบ ศิลปะตามแบบแผนดั้งเดิมจึงเป็นศิลปะแนวประเพณีที่แสดงความงามตาม อุดมคติเพื่อให้คู่ควรกับสถาบันหลักที่คนไทยเทิดทูนอย่างสูงสุด

หากแต่เมื่อยุคสมัยเปลี่ยนแปลงไป งานศิลปกรรมก็มีการปรับเปลี่ยนตามไปด้วยและบุคคลหนึ่งซึ่งมีบทบาทอย่างยิ่งในการเปลี่ยนแปลงรูปโฉมศิลปกรรมในประเทศไทย คือ ศาสตราจารย์ศิลป์ พีระศรี ประติมากรชาวอิตาเลียน ผู้วางหลักสูตรจิตรกรรมและประติมากรรมที่โรงเรียนประณีตศิลปกรรม ซึ่งได้ยกระดับการศึกษาเป็นมหาวิทยาลัยศิลปากรในเวลาต่อมา

ศาสตราจารย์ศิลป์ พีระศรี ได้นำหลักปรัชญาที่ว่า “ศิลปะยืนยาว ชีวิตสั้น” มาเผยแพร่ พร้อมกับหลักวิชา Academic Art ให้ลูกศิษย์ได้ศึกษาเรียนรู้และเพิ่มพูนทักษะทางศิลปะให้ทัดเทียมนานาอารยะประเทศจนได้รับการยกย่องให้เป็น “บิดาแห่งศิลปะไทยร่วมสมัย”

งานศิลปกรรมของศิลปินที่ได้รับอิทธิพลจากสิ่งที่ท่านศาสตราจารย์ศิลป์ได้วางรากฐานไว้ จึงเป็นผลงานที่ผสานความเชื่อ ความศรัทธาแบบดั้งเดิม เข้ากับการเปลี่ยนแปลงของยุคสมัยไว้อย่างลงตัว เปรียบดังกระจกบานใหญ่ที่สะท้อนทั้งความเจริญรุ่งเรืองทางศิลปวัฒนธรรมของคนในชาติพุทธิปัญญาและความเป็นอารยะของชนชาติไทย

ประวัติอันยาวนานและน่าสนใจของศิลปกรรมไทยทั้งหมดได้รับการรวบรวมไว้แล้ว ณ พิพิธภัณฑ์ศิลปะไทยร่วมสมัย ที่ซึ่งเกิดจาก “ความหลงใหลในงานศิลปะ” ของคุณบุญชัย เบญจรงคกุล แต่เหตุผลหลักที่ทำให้คุณบุญชัย

เปิดพิพิธภัณฑ์ศิลปะไทยร่วมสมัยอย่างเป็นทางการ คือ เพื่อเฉลิมพระเกียรติและแสดงความสำนึกในพระมหากรุณาธิคุณอันหาที่สุดมิได้ของพระบาทสมเด็จพระเจ้าอยู่หัวและเพื่อเชิดชูเกียรติของ “บิดาแห่งศิลปะไทยร่วมสมัย” หรือ ศาสตราจารย์ศิลป์ พีระศรี

ตัวอาคารพิพิธภัณฑ์ศิลปะไทยร่วมสมัยได้แนวความคิดมาจากการนำหินทั้งก้อนมาแกะสลักอย่างประณีตบรรจงเป็นลายก้านมะลิ อันแสดงถึงเอกลักษณ์ความเป็นไทย ในขณะเดียวกันลายฉลุเหล่านี้ นอกจากจะทำให้แสงธรรมชาติสามารถส่องลงมาในอาคารได้แล้ว แสงที่ส่องลงมาในช่วงเวลาและฤดูกาลที่แตกต่างกันยังให้ความรู้สึกที่แตกต่างกันไปด้วย