Japanese Art Final Study Image

The Meiji Emperor in Military Dress (1873)

Uchida Kuichi hands on sword: power but casual western style facial beard: masculinity western studio presentation, furniture modernized, militarized

The Young Meiji Emperor (1872)

Uchida Kuichi 内田九一 bulky robe & exaggerated head dress stiff & unnatural

"Rainstorm Beneath the Summit," Thirty-Six Views of Mount Fuji series (1826-1833)

Katsushika Hokusai woodblock print top: bright bottom: lightning, black with contrast to lightning

Dancing Sparrow (1815)

Katsushika Hokusai manga broad sleeves, no sharp angle: mimic sparrow wings no face: erase human identity 360 degree movement recreation

"Snipe" from Poem of the Pillow series (1788)

Kitagawa Utamaro 喜多川歌麿 full color woodblock print naked butt and back neck -> erotic versatile textile patterns -> fashion

Pine Trees in Snow (c. 1775-1800)

Maruyama Ôkyo 円山応挙 pair of six-panel byobu, ink, slight color, and gold on paper

Meiji Restoration 1868

Meiji emperor ascend to throne

Mirror of Japanese Nobility (1887)

Toyohara Chikanoobu 豊原周延 woodblock print western clothing aniline dyes background: traditional ink on paper

Katsushika Hokusai 葛飾北齋 (1760-1849)

start off designing actor print painted manga - geometric break down (also used tools popular in western painting) - linear perspective (single vanishing point) - spacial recession

shoin

style of residential architecture evolved out of aristocratic shinden style use art to signal status and relationship between owner and guest underscore connotation of owner - tokonoma 床の間 挂挂画的地方 - chigaidana 違い棚 放陈列品的架子 - chodaigamae - tsuke shoin - fusuma

pine

symbolic in the room, also blend with outside landscape subtle, non-military

Maruyama-Shijo school

the Shijō style can best be described as a synthesis of two rival styles of the time - kano school: decorative, rigid formalism - nanga: based on Chinese painting, emphasizing direct observation of depicted subjects

baren

tool used to print the inked block "printing pad"

Ninomaru Palace of Nijô Castle (1606, rebuilt 1624-1626), Kyoto

traditional style with karahafu rank determines how far you can go into the palace

karahafu 唐破風

undulating gable used on gates and entryways

Hasegawa Tôhaku, Pine Forest in the mist (late 16th century), pair of six-panel byôbu, ink on paper

using ink tone difference to present atmosphere, distance, perspective

Irises (early 18th century)

Ôgata Kôrin 尾形光琳 pair of six-panel screens, ink and color on gilt paper may have used stencil

yôfuga or yôga

"Western painting"

sankin kotai 参勤交代

"alternate attendance" policy for daimyo lords - strengthen central control over the daimyōs (costly to live in two places, keep daimyos poor) - facilitate travel and flow of art

kachôga

"bird-and-flower painting" seasonal implication additional association

mokkotsu 没骨

"boneless" the object is expressed by the shading of "sumi" ink or color rather than by using outlines

tenshu 天守

"castle keep" inside structure different from outside dominating the landscape

honmaru 本丸

"central enclosure" maximum deterral and protection

shaseiga

"copying from nature"

tarashikomi

"dripping in"

nigao-e 似顔絵

"likeness pictures"

bunjinga/nanga

"literati/southern painting"

sakoku 鎖國

"lock country" policy - Dutch & Chinese restricted to Nagasaki - Dejima 出島: Dutch trading post

chonin

"merchant class" functionally middle class in Edo

goyô eshi

"official painter"

Uki-e 浮絵

"perspective picture" a genre of ukiyo-e pictures that employs western conventions of linear perspective.

kento

"registration mark"

Himeji Castle (1601-1609), near Osaka

"the white heron"

machi-eshi 町衆

"town painter"

shinkeizu

"true view"

zenga

"zen painting"

bokashi

gradation technique of applying colors, especially Prussian blue

topics of printing

- Yoshiwara Kagami: "mirror of the yoshiwara" (printed guidebooks) - shunga: "erotic prints" - interest in fashion and clothing - places to go

Monochrome prints process

1. artist design 2. carver places image face-down on block 3. carver cuts image into block 4. printer inks block prints image 5. print removed & publisher step in

Multicolor print process

1. artist design 2. carver places image face-down on block 3. carver cuts image into block 4. printer inks blocks and prints same number of images as intended colors for finished print 5. artist/printer hand colors prints, one each single color 6. individual color block carved 7. print layer by layer

Yoshiwara district

1617 established in Edo theater and brothel entertainment district

"45th Station: Shono 庄野" from The Fifty-Three Stations of the Tôkaidô, Hoeido edition (1833-1834)

Andô Hiroshige 歌川広重 woodblock print body-language shows different reaction to rain overlapping application

Yoroi Ferry from One Hundred Famous Views of Edo (1857) 应有图

Andō Hiroshige, Woodblock print - movement, atmosphere, distance (space recession) - new color: focus on textile, red and purple dye of kimono - new treatment: bokashi of sky (yellow -> blue) - cinematic presentation - vertical: change in composition choice-

ukiyo-e

Buddhist term - enjoying life floating world picture

ôhiroma

Grand Audience Hall

meisho-e

Heian 794-1185 - high culture - imperial capitals of Nara & Kyoto - literacy/historical reference - large screen painting (none survive) Edo 1615-1868 - urban culture - new shogunal capital of Edo - recent literal/historical/personal/contemporary references - woodblock prints -> landscape

True View of Mt. Asama (c. 1760)

Ike Taiga 池大雅 hanging scroll, ink and color on paper blend western observation with traditional material (bird-sight)

Rooster, Hen, and Hydrangeas from Colorful Realm of Living Beings (1757-1766)

Ito Jakuchû 伊藤若冲 hanging scroll, ink and color on silk two-sided paints repetition of pattern own imaginative form instead of actual form

momoyama painting

Kano School & "blue and gold style"

Birds and Flowers of the Four Seasons (1566)

Kanô Eitoku set of 16 fusuma in the hôjô of the Jukôin subtemple, Daitokuji, Kyoto right: plum tree, in ink, brush stroke different back right corner: seasonality extend beyond one wall main: play with composition of various panels, dynamic, give it a triptych form using sculpture in the middle back left corner: different angle of crane left: stretch the tree to larger scale, show seasonality

Ichikawa Danjuro V in Shibaraku Role (1777)

Katsukawa Shunsho 勝川春章 full-color woodblock print backstage waiting, crouched, potential contrast with anticipated attention big nose nigao-e

"Under the Wave off Kanagawa," Thirty-Six Views of Mount Fuji series (1826-1833)

Katsushika Hokusai woodblock print threat: repetition of claw-like shape naturalism: sprinkle white dots to represent foam boat: give up fighting view of audience: from the sea (with sakoku policy) sometimes interpreted as anxiety about foreign invasion

Red and White Plum Blossoms (early 18th century)

Ogata Kōrin 尾形光琳 pair of two-panel screens; ink, colors, and gold (and silver?) on paper. tarashikomi used to depict bark of tree acute angle of branches

Summer Rain and Autumn Wind (c. 1822)

Sakai Hoitsu 酒井抱一 pair of two-fold screens, ink, color, and silver leaf on paper mokkotsu: "boneless" autumn: red leaves blown away rain: silver background

Segawa Tomisaburô II and Nakamura Manyo (1794-1795)

Sharaku full color woodblock print hunched shoulders and muscular face (onnagata)

Dragon and Clouds (1763)

Soga Shohaku 曾我萧白 eight fusuma panels, ink on paper long, exaggerated nail and claws Spackle on the surface of background stylistic waves statement of patron

Young woman in a summer shower

Suzuki Harunobu 鈴木春信 calendar

Matsushima Screens (first half of the 17th century)

Tawaraya Sôtatsu pair of six-panel screens, ink, color, and gold leaf on paper

Crane Scroll (c. 1615)

Tawaraya Sôtatsu 俵屋宗达 (painting) Honami Kôetsu 本阿弥光悦(calligraphy) Ink and gold and silver paint on paper

The Actor Ichikawa Danjuro I as Soga no Goro Uprooting a Bamboo (1697)

Torii Kiyomasu I 鳥居清倍 diamond crest

Minamoto Raikô and the Earth Spider (1843)

Utagawa Kuniyoshi 歌川國芳 woodblock print our world and ghost world: color difference reference from variety of sources negative component through satirical painting

Hakuin Ekaku 白隠慧鶴 1685-1769

active zen monk and artist caricature-like portrait of important figures -> iconoclastic one hand clapping - large one hand shown, disproportionate body parts self-portrait - no functionality of indication of lineage - exaggerated ugliness

yakusha-e

actor prints

36 views of Mt. Fuji (1830-1832)

actually 46 in total different color used to present different weather and time figures in these pics always secondary

bijinga

beautiful woman painting

Aniline dyes

bright red dye synthetic

nishiki-e

brocade pictures

tsuke shoin

built-in alcove desk

Kobayashi Kiyochika 小林清親

caricature approach to separate Japanese and Chinese troop represent Qing soldiers outdated and disorganized depersonalized, silhouette clothing difference

hôjô

central room

shôhekiga

collective term for paintings on fusuma and byôbu

Rimpa school

constructed retroactively 1600-1640 various formats brilliantly colored paintings and lavish use of gold compositions often accentuate the flatness of the painting surface and emphasize pattern and design

mon

crest

Tenpo reform (1841-1843) 天保

directed by senior councilor Mizuno Tadakuni 水野忠邦 - print types banned as detrimental to public morals (actor, courtesan, geisha) - design restricted to `stories of loyalty/filial piety `no luxury print ` educate women and children - max 8 color blocks - polyptych limited to 3 oban size triptychs - 16 mon/sheet

tsuketate 付立

does not use outline creates forms by using a flourish of the brush, thus expressing volume and color at the same time

Kanô Tanyû, Pine Trees (1624-1626), Ôhiroma, Ninomaro Palace, Nijô Castle, Kyoto

elevated architectural structure for shogun height and length signal power pine: longevity, immortality, timelessness, upright & steadfast (Confucius association and shinto connotation)

Bakumatsu 幕末period (1853-1867)

end of shogunate 1853/54: Matthew Perry's arrival -> end sokaku 1858: treaties of amity and commerce 1863: emperor Komei order to expel the barbarians 1867: Tokugawa shogun resign -> end of shogunate

cypress by kano eitoku

expensive mineral color gold leaf ("blue and gold style")

Hasegawa Tôhaku

extravagant, toward Muqi's style

Toshusai Sharaku 東洲斎写楽

focus on face and hands of actor, more psychological

Chinese lion by kano eitoku

for hideyoshi enormous statement of power

Kano Eitoku 1543-1590

goyo-eshi for political leaders

Ensô 1769

hanging scroll, ink on paper ink circle, don't change once finished spiritual practice "nothingness" figural wordless demonstration

manga

impromptu pics

keyblock

main block of the multi-block process

onnagata

male actors specialize in women's role

kabuki theatre

mie: pose actor/role juxtaposition

Torii school actor painting

mimizukaki: "earthworm lines" hyotanashi: "gourd-shaped legs"

Maruyama Okyo 円山応挙 (1733-1795)

mokkotsu technique tsuketate

Prussion Blue

more stable, deeper saturation, can stand gradation synthetic, wide range of tone

Kano School

most influential in 16-17th century, exntend into 19th century chinese style - kanga, kara-e not confined to one material

chodaigamae

ornamental doorway

byôbu

paintings on multi-panel folding screen, typically created in pairs

fusuma

paintings on sliding doors

rakuchu rakugai 洛中洛外

panoramic genre scenes of Kyoto life

Suzuki Harunobu 鈴木春信

patroned to create calendar prints (egoyomi) ultimate creation of full color print

First Sino-Japanese War (1894.7-1895.4)

print of propaganda, "reportage" impression

Political change & print

prints become less desirable 1799: censor introduced for prints - shunga banned - luxury prints and bust portraits discouraged - courtesan/geisha names omitted (on the print) 1800 - kabuki prints limited - mica banned - number of colors limited

samurai

rich, leisure time -> spend them at yoshiwara district -> become poor due to over-spending

machishû

rising class of the merchant elite, especially in Kyoto relationships with ruling elite vs nobility - with imperial not shogun patronage of machi-eshi