plate no. 9742
Gate of temple in Japan
David Burliuk, 1921
recreation guide
David Burliuk’s 'Gate of temple in Japan' (1921) is an oil landscape that likely engages with the tradition of topographical views, where the primary purpose is to depict a specific place, including buildings prominently (Source 1). While Burliuk is historically associated with Futurism and Cubo-Futurism, this work is classified here as Realism, suggesting a departure from his more abstract period conventions toward a coherent depiction of natural scenery and architecture. The painting likely emphasizes the mass and volume of the temple gate through contour-like definition, focusing on the outlined shape rather than minor decorative details (Source 4). As a landscape, it incorporates sky and weather as compositional elements, arranging the gate and surrounding natural features into a unified whole (Source 1).
estimated time
15-25 hours over 4-6 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (pigments) | Primary medium for color and form | — |
| Linseed oil or poppy seed oil | Binder for pigments; provides flexibility and rich color | — |
| Turpentine or petroleum spirit | Thinner for initial layers and glazes; ensures dullness of surface if aiming for a matte finish | Odorless mineral spirits |
| Canvas or wood panel | Support surface | — |
| Charcoal or graphite | Underdrawing to establish contour and mass | — |
preparation
surface prep
Prepare a standard oil ground on canvas or panel. If aiming for a mural-like durability or a specific matte finish as suggested in historical oil practices, ensure the surface is sealed to resist dampness and maintain a dull, non-shining surface that harmonizes with the architectural subject (Source 3).
underdrawing
Use contour drawing techniques to sketch the temple gate. Focus on the outline and mass of the structure rather than intricate details, using lines to convey three-dimensional perspective, length, width, and depth (Source 4). This approach emphasizes the volume of the gate within the landscape.
underpainting
Apply a thin layer of oil paint mixed with turpentine to establish values and composition. This 'first pass' should be relatively flat to allow for subsequent layering, consistent with traditional oil painting methods that utilize layers for richer color (Source 6).
color palette
Earth tones (ochres, umbers)
Natural earth pigments
General use in landscape and architectural realism; likely for the temple structure and ground
Greys and blues
Ultramarine, white, black
Sky and atmospheric perspective; consistent with landscape traditions where sky is almost always included (Source 1)
Greens
Viridian, yellow ochre
Vegetation and natural scenery elements (Source 1)
composition
The composition likely arranges the temple gate as a prominent element within a wider view, integrating it with natural scenery such as trees or sky (Source 1). The arrangement should create a coherent composition where the building does not detach itself from the background but forms part of the unified landscape (Source 3). The use of contour lines in the drawing phase helps define the space and distance between the gate and the surrounding environment (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the outline of the temple gate and surrounding landscape using charcoal or thin paint. Focus on the mass and volume of the gate, using contour lines to define its form and spatial relationship to the background.
Tip — Ensure lines convey depth and thickness, not just a flat silhouette (Source 4).
Contour drawing
underpainting
step 02
Apply a thin wash of oil paint mixed with turpentine to block in major shapes and values. Keep the surface relatively flat and dull to prepare for subsequent layers.
Tip — Avoid heavy impasto at this stage; focus on accurate placement of the gate within the landscape (Source 6).
Thinned oil application
first pass
step 03
Build up color in layers, starting with broader areas of sky and vegetation. Use the flexibility of oil paint to adjust values and hues, ensuring the gate remains the focal point.
Tip — Oil painting allows for a wider range from light to dark; use this to enhance the realism of the scene (Source 6).
Layering
refining
step 04
Refine the details of the temple gate and surrounding elements. Use contour principles to sharpen the definition of the architecture without losing the sense of mass.
Tip — Remember that contour drawing emphasizes mass over minor details; avoid over-rendering small decorative elements unless they are critical to the topographical accuracy (Source 4).
Contour refinement
finishing
step 05
Finalize the painting by adjusting the harmony between the architectural and natural elements. Ensure the sky and weather elements contribute to the overall composition.
Tip — Check that the design harmonizes with the architectural character of the setting, appearing sufficiently flat or unrelieved to integrate with the landscape (Source 3).
Compositional harmony
critical techniques
Contour drawing
Used to define the mass and volume of the temple gate, emphasizing the outlined shape and three-dimensional perspective rather than minor details (Source 4).
Layering with oil
Oil paint’s flexibility and ability to be layered allow for richer, denser color and a wider range of light and dark, essential for realistic landscape depiction (Source 6).
Matte surface finish
If aiming for a mural-like quality, use vehicles like petroleum or turpentine to ensure a dull, non-shining surface that integrates the painting with its setting (Source 3).
common pitfalls
- →Over-detailing the temple gate: Contour drawing emphasizes mass and volume, not minor details; excessive detail can detract from the overall form (Source 4).
- →Shiny surface: If a matte finish is desired, avoid using too much oil; use turpentine or petroleum to maintain a dull surface that does not shine at any angle (Source 3).
- →Disjointed composition: Ensure the gate does not detach itself from the wall or landscape; the design should harmonize with the architectural and natural setting (Source 3).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific color palette used by Burliuk for this particular painting is not detailed in the sources; general landscape and realism conventions are applied.
- ·Exact brushwork techniques specific to Burliuk’s 1921 style are not provided; general oil painting practices are used.
- ·The specific topographical details of the 'Gate of temple in Japan' are not described in the sources; the guide assumes a generic temple gate structure based on the title and genre.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- A FEW WORDS ON MURAL PAINTING — applied to Surface preparation and achieving a matte finish for architectural harmony
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Understanding the genre as a topographical view and the inclusion of sky/weather in composition
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique to emphasize mass and volume of the temple gate
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting techniques, layering, and material properties
Read more about the corpus on the sources page and how the guides are built on the methods page.
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