Arts of Japan Final

Kano Eitoku A pair of four-paneled folding screens Ink on paper covered with gold leaf Azuchi-Momoyama period/16th century

(one of the most important artists of Kano school), A pair of four-fold screens. Ink on paper covered with gold leaves. Momoyama Period, 16th century. Cypress tree in front of gold leaf, gold leaf serves to frame things and emphasize aspects of the painting, such as the cypress tree, which is the main focus. Gold leaf also frames the rock in bottom left. Contrast of colors between gold, brown, and the rich blue of the water. Recalls some muromachi motifs. Tree in foreground, yet here he's made it the most enormous aspect of the painting. Tree symbolizes the virtuous gentleman. Mountains in background. Chinese style brushstrokes that delineate rock textures. Also there's water in the middle ground, but instead of it being negative/misty space, he uses lavish blue pigment to depict the water→ one way to show the patron's wealth. Lapis lazuli, very rare stone. Kano Eitoku created two important styles: Gold background paintings, like this one. Monochrome paintings

Himeji Castle first, built in the 14th century., enlarged in 1601-1609. Pictured is the donjon, or inner keep. Momoyama Period (1573-1603)

Built with defense in mind. Designed as a maze, in a way. There's a moat, but if you crossed the moat, there's no straight path to the complex. Lots of winding pathways. Tons of gates to go through. Convoluted route to even get near the castle. o Built as defense structure as well as place of political affairs o Home of a feudal lord o Not so much light so decoration with gold screens in the interior to make it brighter o *Think of decoration* o Castles proclaimed power and importance of person to whom it belonged o Designed like a maze with defense in mind -- First you'd have to cross a moat -- Keep you out in the open much longer

Sesshū. Amanohashidate. Hanging scroll. Ink and colors on paper ca. 1503

Departure for everything he's done before Not just more realistic, but one of an identifiable place that he actually visited and painted, which was super innovative. Still trying to capture grand expansiveness of nature, but doing it through a real landscape. Ama no hashidate, real place in Japan. Standing on top of mountain while painting this, looking below. Middle ground if focus, land and trees Background: more trees, and some hills/mountains Torii gate/entrance to a shrine. Expansive water, boats, mountains, trees, minimized human presence→ these motifs still present despite how different the painting is. Classic Sesshu style of bold but minimal brush strokes. Represents one of Sesshu's last innovations in landscape: depicting landscape in life, painting something he actually sees, while still maintaining the motifs of the landscapes we've seen.

Sakai HOITSU 1761-1828 Triptych of Flowers and Rising Sun after 1824 Hanging scroll(s), ink and color on silk

Depiction of four seasons: irises, cherry trees, narcissus, maple leaves. Brightly shining / Is our emperor's reign / Throughout the world / Its radiant beams / WIll never be overshadowed. Can be read as a reverence of the imperial lineage. hallmarks of Rinpa artists' compositions Depiction of nature Having motifs as the subject of a work for their own sake Rinpa just made works for wealthy people, more freedom to do what they wanted

The Hikone screen. Painted on Gold-leaf paper C. 1624-44. 6 panel folding screen.

Depicts scene from pleasure quarter in Kyoto Owned by a feudal lord Gold background, it's a luxury item Landscape screen in the background of the work Playing a game of go (chinese chess), playing music, woman writing a love letter Banana plant motif- elite theater reference that people would have understood Breed of dog, possibly imported from Europe. Samurai leaning on his sword Image of the four accomplishments (theme that was common to the kano school). Meant to show the virtue of the owner. But this does not show virtue, it shows pleasure. Hallmark of commoner art: dipping into elite artistic themes/traditions, but with an ironic twist of sorts, bringing it away from virtue towards idea of pleasure seeking.

Kitagawa Utamaro. A Low Class Prostitute (Gun [teppo]), from the series "Five Shades of Ink in the Northern Quarter" ("Hokkoku goshiki-zumi"). 1789-1800

Disheveled hair v put together Left in charge of situation coye smile and beckoning someone to call to her Other figure looks vulnerable, posture and slumped over, erotically charged image of biting paper Low versus upper class Geisha Immaculate she is groomed, elaborate patterns on dress Completely disheveled, hair unkempt -- worked outside pleasure quarter

Kitagawa Utamaro. Geigi [Geisha]"Five Shades of Ink in the Northern Quarter" ("Hokkoku goshiki-zumi"). Early 1790s

Disheveled hair v put together Left in charge of situation coye smile and beckoning someone to call to her Other figure looks vulnerable, posture and slumped over, erotically charged image of biting paper Low versus upper class Geisha Immaculate she is groomed, elaborate patterns on dress Completely disheveled, hair unkempt -- worked outside pleasure quarter

Kano Eitoku. The Hermits Xuyou and Chaofu. Two Hanging Scrolls, ink on paper. 16th century.

Emperor heard that the figure Xuyou was this great sage, and basically offered that he rule the state. Xuyou was upset, hated the idea of becoming someone consumed by worldly affairs. So he goes to a waterfall to wash out his ears, because he hates even hearing that. His friend Chaofu hears of this story, sees that the river has been polluted by the emperor's proposition, just because Xuyou washed his ears from it, so he doesn't want his ox to drink from it. Symbolism of a waterfall in Chinese paintings or with Chinese themes is significant. No specific meaning, but motif of a learned gentleman, surrounded by nature, deep in contemplation. Isolation, removal from worldly affairs, upstanding gentleman. Certainly uses this motif to enhance the figure's upstanding moral nature, because he's not just going to a river to wash his ears out. Kano Takanobu, 17th century. Painting, two-panel screen. Xu You cleaning his ears by waterfall, Chaofu turning his ox away. Same theme. Motifs representing stories of the past, or stories that carry moral lessons

Ōgata Kōrin (1658-1716), Irises at Yatsuhashi (Eight Bridges). After 1709. pair of 6 paneled folding screens. Color with gold leaf on apper.

Folding screens that depict irises, as well as a bridge. Tales of Ise episode: aristocrat, after having affair, is exiled from the capital. While leaving capital, he stops by bridge, sees irises, is very sad, and composes melancholy poem. No figures, Irises are now the main subject of the painting. Viewer inserted in the painting Lavish use of gold Just enough information to jog your memory of the scene but represented much more minimally Bridges and irises are flattened and simplified the texture of the motifs for decorative purposes, but is still executed in bright colors and still connects to a poem.

The Four Accomplishments, Kano Motonobu. mid-16th century Pair of six-panel folding screens; ink and color on paper

Four Accomplishments (Music, go (chess), art appreciation, calligraphy) Screens originally designed as spatial separations in a room You'd sit in front of/ in the middle of a screen and receive guests. Displaying these paintings was a way to legitimize one's place in society. Tokugawa legitimize their position because they were morally upstanding people, and they do that by showing paintings like this. Very much in accord with chinese ideals, that if the leaders were virtuous, the realm was also virtuous and harmonious. Not only legitimizes the shogunate but renders the realm as stable, peaceful and harmonious. Depicts four signs of a virtuous and learned gentlemen / A man of culture -- expected to be proficient in four areas: PLaying music, practicing calligraphy, appreciating painting, and playing goh (board game like chess, a game of military strategy) → these make you a virtuous person On the right: preparing calligraphy and board game On the left: people in a hut and man gazing at waterfall to show contemplation and connection with nature Land mass on the left and right side, mist in the middle, and synthesizes values in the middle Chinese theme - monochrome landscape painting Common elements of landscape painting Format different 2 folding screens rather than a hanging scroll Japanese themes/styles Format (folding screen) which was produced for specifically Japanese context *Slightly more Chinese than Japanese in nature of stlye

Hokusai. Great Wave off the Coast of Kanagawa. From 36 Views of Mount Fuji. Ca. 1830-1832. Polychrome woodblock print.

Fuji appears twice here too. This one's very famous. Shifting landscape over so no beach or land Exaggerating the wave making it a focus of the painting Wave in focus with energy and dynamism hand like Engulfs fishing boat and engulf mountian Mount fuji reflected How are waves depicted in this time

Irises, Ōgata Kōrin, c. 1701. color with gold leaf on paper. Pair of six-paneled folding screens.

Further reduction of scene to its poetic essence, the irises themselves. Becomes so famous that it is depicted on money

Kano Eitoku. Scenes in and Around the Capital. Pair of 6-panel folding screens. Ink and gold leaf on paper. 16th century.

Genre painting. Depicting life in Kyoto, renewal of life in Kyoto in years following war, economically and socially. Birds eye view. Usually six panel screens. Close up: interesting details of how people live. Beggars begging for alms, monks, shopkeepers. Fishing, race track for horse racing. Archery contest, water purification at holy temple.

Tea Ceremony

Highly performative event involving all sorts of sensory aspects Overarching concept of importance: Wabi-Sabi Beauty that is imperfect, impermanent, and incomplete Characteristics: Asymmetry, simplicity, austerity, the rustic. Tea ceremony was very performative in nature. All gestures and actions are meaningful and serve to stimulate the senses. The taste the focus, the sound of the boiling water and the touch of the ceramics

Tenmoku Teabowl with Black Glaze in Hare's Fur Pattern, China, Song Dynasty (12th-13th Centuries)

Highly sought after tea objects Symmetrical - shape Shiny glaze Conical shaped bowls Bowls used to serve matcha tea Chosen to suggest age and à Chinese aura of simplicity/understated elegance Responded to changing aesthetics of the time Glazed in matte or iridescent colors with streaks of dark or silvery color Intended to imitate the Chinese Jian: matte black/brown iron glazed tea bowls

Hasegawa Tohaku, Pine Forest, late 16th c

Individualist painter -- Trained in Kano school but tried to break free from that (was not concerned with propagating a lineage) Clearly delineated foreground with pine trees, mist blurs the images close up and in the back No sense of water or towering peaks No color- works in monochrome (it was very Kano to mix monochrome Chinese tradition with Japanese painting) Elements we've seen before but changed Textbook pdf 132: "Tohaku's greatest contributions to the development of a decorative reinterpretation of former styles, however, were his amalgam of monumental forms, his subtle use of monochrome ink without additional gold or color, and his ability to infuse simple plant and tree motifs with a sense of tradition and timelessness. This unique combination appears at its best in his Pine Forest, a pair of six-panel screens. Tall trees are seen as if from a distance. Thick mist flows amongst and around them, obscuring the lower half of some, the mid-trunk area of others. The viewer knows that when the mist clears the trees of the forest will appear tall and straight, with deep green needles, but at this moment they barely assume recognizable forms before they disappear again, or remain partially visible like ghostly gray apparitions. Tohaku has taken the motif of pine trees, possibly remembering Mu Qi's bamboo in the mist, and worked it into this format.... Nature in [this] painting is gentle and hospitable. It is not meant to overpower or to create an awe-inspiring backdrop for a warlord, but instead to harmonize with and perhaps inspire human activities." Originally trained in Kano workshop but left to be an individual painter Tree and trunk hidden by the misk The mist coming into the foreground and middle ground - Individualist of the Momoyama period

The Meiji Period (1868-1912) Emperor Meiji (1852-1912)

Japan had been completely isolated during the Edo period. But it's the 19th century and outside powers are pressuring Japan to open up for trade, and they succeeded. Foreigners began to start visiting Japan and living in Japan. People becoming increasingly sick of policies, until in 1868 Emperor Meiji gained control of state, first time since 1185 that the Emperor controlled Japan. Emperor Meiji pushed Japan to modernize so that it could compete with foreign powers. Sudden influx of Westerners from around the world caused growth of western painting and techniques, oil painting becomes major genre.

Chronology First Half

Jomon Culture 11,000 BCE-400 BCE Yayoi Culture 400 BCE- 300 CE Kofun Period 300-710 CE Nara Period 710-794 Heian Period 794-1185 Kamakura Period 1185-1333 Muromachi Period 1336-1573

Josetsu, c. 1413. Catching a Catfish with a Gourd. Hanging scroll, ink and light colors on paper.

Josetsu Catching a catfish with a Gourd Writing with visualization of a person catching a catfish Formulation of landscape painting coming from china Foreground darkly delineated rock formations and trees action in foreground Midground mist Background mountain Question or problem KOAN how to catch a catfish with a gourd 31 poems written at the top Commentary and dialogues would help you work through the problem you are trying to get to Koan further emphasized in painting Curve of river and fish Bending bamboo Man's posture quite stiff Object made fro muromachi shoguns Made for a screen and then hanging scrolls Zen buddhism and painting Zen characterized by focus and meditation Goal is to attain enlightenment through self-cultivation and cultivating the ,mind Emphasis on the lineage or venerating significant minks or patriarchs Idea of "Mind to mind transmission" kind of telepathy that is the ability to understand the buddhist teachings your teacher is trying to teach you without the teacher saying it Example shakamuni narrative image Humanness emphasized Ink wash used Suggest that enlightenment doesn't come easily Solitary meditation is important for some times Sudden enlightenment versus gradual enlightenment Abbreviates artwork Lessitting cross representational Koan: mediation tool that consists of questions or exchanges with a master that cannot be understood or answered with rational thought To provoke enlightenment

Schools of Painting

Kano School: official painters of the shogun. Individualist painters: many trained in the Kano school but not concerned with propagating a lineage. Kano Workshop Official iconographers to the shogun and the daimyo Combined Chinese and Japanese painting styles Iconography, in general, reflects Confucian virtues and moral or Chinese themes A hereditary lineage of painters, people talented in painting outside of the family could be adopted and take the family name Themes from Kano Painters: Old things Motifs representing stories of the past, or stories that carry moral lessons Motifs from the natural world Natural world as the embodiment of moral order, or the world as moral space ( trees, flowers, birds) Tosa school: painters for the aristocrats, painted themes from Japanese literature. Rinpa school: Painters who revived yamato-e themes, painted for the commoners, wealthy merchants.

Nijō Castle, Kyoto. 17th century.

Kano school painting that shows the visual program of the castle and how the shogun constructs authority Impressive gold everywhere -- to bring in more light Fine detailed ceilings signaling wealth Ceilings are so high that it makes the space look it look imposing and big and Room filled with tigers prowling through a bamboo forest as an intimidation tactic The scale of the trees signify scope of power and visual symbol of authority These motifs and stories of the past were altered to show that the warrior patrons celebrated virtue and military strength and to assert their cultural sophistication, thus legitimizing their power. Pine tree would frame him as he would sit Raised floor for the shogun physically elevated higher - receiver would be placed on lower level Through visual symbols of the pine, the physical space of the room is transformed Motif of pine tree heavily used Pine tree tokugawa rulers as virtuous convey political message Textbook p 242. "This room occupies the long side of the building facing the garden and consists of two main areas: the lower level for the shogun's vassals, and the upper level, where the shogun sat, back by a tokonoma painted with a massive pine tree set against a gold ground, a visual metaphor for the strength and enduring nature of his bakufu. To the right of the tokonoma is a chigaidana, and — on the long wall facing the garden— a chodaigame leading to a waiting room for bodyguards: to the left, an abbreviated attached study, or tsuke shoin. The ceiling is elaborately coffered, and the panels above the decorated sliding doors are deeply carved and brilliantly painted with flower and cloud motifs.

Segawa Tomisaburō as Yadorigi, Ōgishi Kurando's Wife, by Sharaku. Polychrome Woodblock print with mica background 1794.

Known for focusing just on the face, not the face and body and big gestures. Second image: a kabuki actor playing the role of a woman. We know it's a man because the front of his head was shaved, and therefore is covered. Square, masculine jawline.

Jakuchu, Pond and Insects. C. 1761-1765. From Colorful Realm of Living Beings

Lots of living creatures and plants, flora and fauna. No people. An element of seasonality in some of these images. Arbitrary selection of what he depicted→ chose to paint what he liked Vantage points Lizards Viewing them in the context of natural history collectora Inanimate animals in dynamic environments Livied near fish markets Studied rimpa painting, chinese painting, japanese painting, and the natural world. Wen cheng, Cranes Studied and replicated these paintings Not trying to imitate the chinese painter Plumage more full, depicted with more detail, pose is similar. Background quite different In chinese painting, painter using ideas of monochrome ink convey atmoshperic Jakuchu patterned waves like rimpa painting

Sesshū. Landscape in the Splashed Ink Technique. 1495. Ink on paper; hanging scroll.

Made as a gift for his disciple, contains poem/autobiographical account of his life. Boats, peaks, mist, emphasis on verticality in the center of the composition. Showcasing qualities unique to ink painting. Splashed-ink style can be compared to Yujian, and we can see Sesshu's compositional innovations Maintains motifs of fishing boats, fishing hut. Sesshu conveys sense of monumentality and expansiveness.

Tosa School. Scenes from the Tales of Ise. Late 18th century. Edo

Main protagonist is exiled from the capital after he has an affair with a high courted woman Iris blooming in May Overcome with emotions - love poem display of emotion

Suzuki Harunobu. Plum Blossoms at the Edge of the Water, from Elegant Poetry of the Four Seasons. About 1769. Polychrome woodblock print.

Major innovator with prints, because he was the first to experiment with multicolor prints (Nishiki-e, brocade prints) Rhythm force ukiyo-e project. Star Wars, Battle of Hoth. You would first print a block with outlines, then add one color after another, and so on, until it was multicolored. Harunobu also famous for his rendering of figures, long and slender forms Woman watching man reaching to branch of plum tree, perhaps about to break it off Theme of seasonality, possibly about the couple's fertility. She is leaning on a lantern, making it dark and hiding the act of breaking a branch that they are doing. Even the hand that scoops / water to drink / Likely has a fragrant glow; / A stream flows beneath the / blossoming plum tree.

Attr. Tenshō Shūbun. ca. 1447 Reading in the Bamboo Studio. Hanging scroll; ink and color on paper.

Making hut as inconspicuous as possible Landscape paintings ususally have some sor tof body of water Diagonal landscape body of water and distant mountains Clearly deliniated foreground pine trees Taking this idea that was developed of hidden hut in nature taking it to the next level making it less visable

Mandarin Ducks in Snow. C. 1759 From Colorful Realm of Living Beings

Mandarin ducks thought to have one partner for life, therefore good symbol of marital commitment/harmony. Highly detailed. *Wanted to convey direct experience -- Direct observation of nature Tries to capture idea of observation through intensification of color Frozen willow tree - indicates winter scene Mandarin ducks are thought to mate for life Popular subject to convey things like marital harmony Subject matter that had been established and he reworked Distinct associations with specific seasons Camelia flowers Winter flowers Meticulous feather patterning

Chronology Second Half

Momoyama Period 1573-1615 (alternatively 1603 is given as an end date. You can remember either one) Edo Period 1603 (or 1615)-1868 Meiji Period 1868-1911 Taishō Period 1911-1926 Shōwa Period 1926-1989 Heisei Period 1989-present

Ōgata Kōrin. Red and White Plum Blossoms. Pair of 2 paneled folding screen, c. 1710-1760. Color and gold and silver leaf on paper.

One of Korin's most famous works Lots of "dripping in" technique, gives texture, like on the moss Metallic curls convey the flow of the water. Recreation of a sensory experience. Dynamism and movement

Chōjirō (1516-1592), rakuware. Teabowl. Clay covered with a dull black glaze

Raku ware. Chojiro (1516-1592), rakuware. Teabowl. Clay covered with dull black glaze. Another type of tea bowl, not made on a pottery bowl but completely molded by hand. Very difficult, took a lot of skill to make the walls of the bowl of even thickness. Asymmetry→ cylindrical shape that becomes disfigured as it's made due to the process of working with one's hand. Raku Ware gave rise to different types of ceramics. Do to process of working with ones hands Not thrown on the wheel More about identity of the artists Emphasis on ceramics focus on artists role in the process rather than finished products Tactile mediation of process of making the bowl

Hishikawa Moronobu. From the series Illustrations of Beautiful Women. 1683. Woodblock printed book, ink and color on paper.

Reminiscent of Tale of Genji, but not connected to it at all. Uses visual language from Tale of Genji. More than one scene depicted Harkens back to Tosa interpretations of Genji, that interpret the scenes as very voyeuristic episodes. More sexual, the woman being spied on is getting dressed or undressed. Monochrome print, with hand coloring.

Poem from the New Anthology of Poems, Past and Present. Calligraphy by Hon'ami Kōetsu and under decorations by Tawaraya Sōtatsu. Early 17th century. Ink and gold and silver paint on paper. Handscroll. Rinpa

Rinpa Not a family of painters, just a group of artists. Were not trying to make a new school. Handscroll "Scattered writing" Paintings of deer Calligraphy and lines mimic/echo the shape of the deer. There is an aesthetic relationship between the calligraphy and the painting as well. Collaborative effort The forms are supposed to be appreciated for their aesthetic and for their relationship to each other. Interplay between picture and calligraphy, more important than any sort of explicit meaning. Why deer? No deer in poems. But, deer have been an integral part of japanese poetry, represent various things. Symbols of nostalgia, melancholy. Recurring theme.

What was the Kano Workshop? Who were their patrons?

School of painters that were official to the shogunate Looked heavily to previous painters like Seshhu Heavily used gold leaf took inspiration from different sources like sesshu, yamatoe for bright colors, themes in the painting that convey confusion ideals, chinese monchrome formulaic landscape, nature as a moral space through the depiction of natural landscapes and depiction of birds. Seasonality in paintings to depict renewal and decay. Where was the art produced and primarily displayed In Castles - large paintings were used to display wealth and authority to the people who were or around Not necessarily for the painter to enjoy Seshuu was a monk painter -- question of whether this is a zen painter or not looking to the past and history is zen art Old things are important to the Kano school -- looking to past to create their own style In addition to subjects in their own paintings are rooted in the past Sesshu as a source of the past or Did use yamatoe japanese style landscape - but using it to raise profile of shogun

Sakai Hōitsu. Bush Warbler (Uguisu) in a Plum Tree. early 19th century. Hanging scroll; ink, color and gold on silk

Seasonal motif, no literary reference. Warbler on branch, very cute. No deep meanings to these paintings, very simple. Surface decoration is the focus.

Himeji Castle first, built in the 14th century., enlarged in 1601-1609. Pictured is the donjon, or inner keep. Momoyama Period (1573-1603)

Shogunate losing power, Japan was broken up into small territories with Feudal lords There was a great effort in part of the military to unite under one Time of constant warfare lead to the creation of many castles Castles would have served as a permanent stronghold of the fuedal lord Defensive structure also where the business of the state was constructed Owning a castle proclaimed the power and importance of who owned it A lot of castles were build and destoryed at this time Himeji Gate. Not just rolling hills but fortified with stone walls that are impossible to climb. Not just gate, but have windows that would have armed guards men who would see you. Small holes reduced danger for guard. Wide open area where you'd be exposed. Heavily armed and defended. Himeji castle donjon, or inner keep. Would serve as main residential quarters, among other things. Contains armory (would have guns by now). uilt as defense structure (military function) as well as place of political affairs (permanent local government or home for feudal lord); a garrison/fortress It legitimized the power of the person who owned it; proclaimed power and importance of person to whom it belonged Built by the warlord Hideyoshi and later enlarged by Tokugawa family; lots of castles were built because of this warring period The castle was complex, huge, and designed like a maze to make it difficult for people to attack (high walls and motes which would keep intruder out in the open for longer) The castles were dark on the inside so decorated to make use of the limited amount of natural light→ decoration with gold screens in the interior to make it brighter *Think of decoration*

Wind and Thunder Gods, Tawaraya Sotatsu Pair of two-fold screens. Color, gold, and silver paint on paper. 17th century. Rinpa

Silver against gold backgrounds. Highly decorative: first time an artist is using these two figures as the subject of a scene. Divorcing the figures from the original story, and from the seriousness of the original story. Making them subject matter and motifs in their own right, and something overall much more playful.

Noblemen Viewing the Nunobiki Waterfall, Episode 87 of the Tales of Ise, first half 17th century Tawaraya Sōtatsu. Rinpa

Sotatsu considered one of the first rinpa painters, inspired by literary themes and painting styles from the past. Noblemen view the waterfall, and one guy makes a poem about how sad he is because he hasn't been promoted. Rinpa: themes drawn from courtly literature, and very sad. Waterfall takes on emotional significance of the entire scene. Treatment of composition is different from something from the Tosa school Compared between Tosa and Rinpa waterfall scenes. Tosa has gold clouds that guide our view, while rinpa gold delineates the waves in the water Tosa waterfall has more detail, flows more gently. Rinpa waterfall is falling straight down Distinct point of view: birds eye view in Tosa, much closer in Rinpa Tosa painting is clearly defined and delicately completed. Colors: dark green over lighter green, or green overlaid on different color. Rinpa gradation is more subtle. Base of the rinpa waterfall has dark ink representing splashing, just to capture a feeling. "Dripping in" technique, adds sense foliage or grass, used quite a lot by Rinpa artists A Rinpa work Chirashigaki: scattered writing Lamenting his low position, writes a poem: Which, I wonder, is higher- This waterfall or the fall of my tears As I wait in vain, Hoping today or tomorrow To rise in the world. (trans. Helen Craig McCullough) Both Rinpa and Tosa look for ways to convey emotions, but different ways to do so Waterfall significance Emotional aspect "Falling tears" Faces on courtiers look quite similar Similar to Tosa painting in that it is Japanese literature and expressing emotion through a waterfall Unlike Tosa, treatment is much different: reductive/simple depiction of nature; pattern, flattened, no black outlines, more direct association with literature Tosa: more architectural lines, more delineated forms, more rich/clearly defined pictorial forms Developed a technique called tarashikomi ("dripping in") Splotches Let ink drip down Show texture Not damage Smudgy, imprecise

Kano Tan'yu. Shennong, Summer, and Winter Landscape. 17th century. Ink on paper. Set of 3 hanging scrolls.

Summer on the right and winter on the left Diagonal composition of landscapes frames the central figure Figure is legendary chinese emperor named Shennong, sometimes thought to have invented agriculture. Image of a virtuous ruler, flanked by winter and summer. Suggests idea of timelessness, perpetuity, that virtue transcends earthly concerns. WInter panel is similar to Sesshu's winter landscape, he is looking to Sesshu a lot for inspiration/ as a guide. Another very important Kano painter The waterfall a river, a hut secluded in natureàcombining elements of traditional painting (like Zen paintings) and also using Chinese themes of waterfall, peaks, and diagonal composition The winter side is rooted in Chinese and Japanese painting precedent Compare to "Winter Landscape" by Sesshu: both have thicker, more angular brushstrokes and the figure climbing up the mountain (probably looked to Sesshu as a guide/inspiration) Summer on the right and winter on the left Diagonal composition of landscapes frames the central figure Figure is legendary, virtuous chinese emperor named Shennong, sometimes thought to have invented agriculture. Suggests idea of timelessness, perpetuity, that virtue transcends earthly concerns.

Kanbun Beauty. 17th century. Hanging scroll, color on paper.

The courtesan and her beauty gets taken up as its own theme, very seductive poses Beauty of the Kanbun Era

Waves at Matsushima Tawaraya Sōtatsu Japan, early 1600s Pair of six-panel folding screens Ink, color, gold, and silver on paper, Rinpa

They thought it depicted Matsushima, but that turned out to be wrong. It's still the title, though. But it's just a depiction of the sea. Thought by scholars to depict a scene from a famous place Initially stored in a temple and one of financial backers of temple had simialr meaning of sea shore - yamato-e imagery associated with the screen Highly reductive painting - single line for coastline Silver cloud in left corner

The Eastern Cottage (Azumaya), Illustration to Chapter 50 of the Tale of Genji (Genji monogatari), Tosa Mitsunobu, album leaf, painting, datable to 1509-1510

This brings us to another important theme of Tosa. Not emotions, but pageantry. Depicting the glory, wealth, luxury, and power of the court. Becomes part of the visual vocabulary that represents the Genji chapter. Tosa artists reduced number of people to protagonist - emphasis much more focused on the encounter Golden clouds that become a framing device to show us the importance action More elaborately painted Employing visual cues to emphasize the viewer on the scene Kaoru more aggressively transgressing

Mincho, Cottage by a Mountain Stream, 1413. Hanging scroll, ink on paper.

This landscape differed from yamato- e Monk painters were imitating landscape paintings that were popular in china at the time At this time in history many Japanese zen monks were visiting from China to Shigajiku - hanging scroll combining poetry and painting Depict ideal of monumentality Vastness of nature over human presence Commemorated when a monk in kyoto finished building himself a study and invited friends over to celebrate Painting elevating hut into ideal space where monk could do his daily practices Monks friends poem building a hut Formal: mist and fog in the middle creating depth; mountains in the background and foreground; varying lines; rushing water; mix of architecture and nature→ the depiction of landscape is very formulaic and engrained in artistic practice This scroll doesn't depict Zen practice, but is done by a Zen monk Japanese monks are appropriating Chinese traditions into the Zen paintings - Mincho is painting in Chinese monochrome landscape style (vs. Japanese style of blue and green hills) A Shigajiku: hanging scroll combining poetry and painting These images don't cost a lot to make (don't require the luxurious pigments used in Pure Land art) Differences from Chinese landscape: Human presence is felt more (bigger house) Mountains are not as treacherous More text

Bamboo in the Four Seasons. Attr. Tosa Mitsunobu. Late 15th-early 16th century. pair of 6-panel screens; ink, color , and gold leaf on paper.

Tosa School Patrons were very different. Tosa served the nobility, Kano served the military. Tosa themes: references to courtly literature, golden age of the imperial court (Heian period). Painters for the aristocracy; specialized in yamato-e; especially depicted images with Japanese literary themes (Tale of Genji, among others). Different seasons depicted. Low bamboo for summer, ivy on the bamboo for autumn, snow on bamboo for winter. This set of screens probably were not at first a set of screens. Was probably on a room with sliding doors. A set of screens that depicts bamboo and changing of the seasons. Changing of the seasons is important in Japanese poetry. More soaked than the mornings / I made my way home / through the low bamboo-- / How wet are my sleeves / those nights I came but could not find / you. Ariwara no Narihira, 9th century translated by Haruo Shirane About an aristocrat whose lover has gone. Lots of possibilities for different poems by looking at these screens.

Itō Jakuchū. Vegetable Nirvana. C. 1780. Ink on paper; hanging scroll.

Translating buddhist themes into personal things for him Memory of his father an Personalizing his own religious engagement and devotion Radish standing in for Buddha Shimizu says radish stable abundant food Taking everyday object and experimenting new ways of interpreting these things Worked in monochrome Vegetables Radish as a buddha- what are the cultural associations here? Drawing on canonical buddhist iconography Invokes the Nirvana of the Buddha (the moment he passes away): Buddha dying surrounded by his followers Drawing on canonical Buddhist iconography but instead using what he sees around him

Sesshu Toyo (1420-1506) of the Muromachi period

Very prolific painter, studied painting with Shubun Both zen monks at the monastery in Kyoto Went to China to study religion and painting styles, not just studying in Japan. Very rare for a monk painter to do this More productive to frame Actively studying chinese painting masters Studies paintings in the styles of Chinese masters Sesshu's work as him thinking of a painter, as him studying painting in order to produce something new.

Great Audience Hall, Nijō Castle, Kyoto c. 1625.

Visual program of the castle Empressive gold everywhere Fine detailed ceilings signaling wealth Ceilings are so high that it makes the space look it look imposing and big and Room filled with tigers prowling through a bamboo forest as an intimidation tactic The scale of the trees signify scope of power and visual symbol of authority Depiction of a pine tree against being evergreen Pine tree would frame him as he would sit Raised floor for the shogun physically elevated higher - reiever would be placed on lower level See how shogunate is constructing authority Through visual symbols always present pine tree but also the physical spcace of the room Motif of pine tree heavily used Pine tree tokugawa rulers as vurtious convey political message Virtuous gentleman whcih is able ti withstand harsh conditions

Tale of Genji, illustration from Lavender (ch. 5). Tosa Mitsuoki, 17th century. Ink and gold on paper. Album leaf.

Waterfall: ideal virtue, contemplation, but here it's more decorative. Less contemplation. Woman's bird has flown away. Viewer voyeurism Looking on a scene that he probably shouldn't be looking in on Waterfall a symbol of ideal virtue Depicted in very different way than we have seen Layden with emotional feeling rich in pagaentry -- see in rich clothing and gestures

Shono, 53 Stations of the Tokaido, Andō Hiroshige. C. 1834. Polychrome woodblock print on paper.

What caused rise in popularity of landscape? Increase in casual travel in Japan for the first time, because people had more disposable income. Commoditization of place (guidebooks, for example) These prints still relied heavily on imagination. Captured the atmosphere of a place more so than direct observation. Countryside Conveying sense of wind, fury of the storm (trees, clothes) These landscape woodblock prints was representative of a late development Even though they weren't allowed to leave Japan, they were allowed to travel throughout Japan These prints whos the leisure, travel, and the commodification of place Guidebooks started being made The artist is trying to capture how every place felt and the different atmospheres of each The Tokaido Road: roads are created to facilitate travel, connected Edo and Kyoto with 53 stops of small villages This is the Shono station: caught in the rain and running to take shelter during their long journey; Flash of a butt He produced a print for the atmosphere and landscape that you would encounter at each of the stops Through this series we get a sense of what it felt like to travel on this road and in different conditions Edo period (still isolationist) Textbook pdf 147: "From his experiences on this trip and his knowledge of the Japanese landscape in general, Hiroshige produced a series of prints that combine a lyrical view of the countryside throughout the course of the four seasons with charmingly humorous depictions of the people and the local customs of each post station along the road."

Sesshū. Winter Landscape. C. 1470s. Ink on paper; hanging scroll.

Winter: Snow cliff with solitary figure Background with steeper, jagged mountains Zen interpretation: Walking along a path, easy at first, but then gets more treacherous yet more rewarding. More useful to understand the landscape as a pictorial object Lower right: two trees. Dark brushstrokes for cliffs, darker ink wash for the big rocks. Distant mountains, very light gray Vertical line that has no apparent logic to it, forces us to question the nature of a landscape Hut is front and center Heavy brush work to delineate forms, but minimal. Not many strokes. Rock texturing: mix of solid lines and ink wash

Hishikawa Moronobu ca. 1678 Woodblock print Interior Scene in the Yoshiwara

Yoshiwara: popular place of pleasure seeking, including prostitution. Why did government allow places like this to exist? They were interested in collecting tax revenue, and also provided outlet for samurais or working class, gave them place to spend time and kick back, possibly preventing rebellions. This district is on the outskirts of Edo, enclosed within a moat, not a very wide area of land. Very enclosed space. Only one way in and out. Moronobu painted a lot of scenes from this place, very idealized image of the Yoshiwara, how people wanted to romanticize it. As glamorous place. Part of a larger handscroll. Begins with people entering the main gate. People wearing straw hat to conceal identity, because not considered morally acceptable behavior. Brothels would have latticed windows, you could look inside and see the entertainment (games, relaxation, music). Calligraphy. Good and preparation of seafood People sleeping together/spending the night, sectioned off by screens. "...his great innovation was the production of sets of single-sheet illustrations without any accompanying text, depicting such Edo themes as the pleasure districts, flower-viewing in the municipal gardens, and the like. He was also the first print designer to append his name to his prints. A particularly fine example of his work is the single sheet from the 1678 set Yoshiwara no tei (The Appearance of Yoshiwara), Yoshiwara being the city's principal pleasure quarter. The print shows the interior of a teahouse, with several patrons sitting on the floor watching as a courtesan dances to the accompaniment of a drum and two samisen. To the left is a two-panel screen with Moronobu's signature clearly visible as part of the surface decoration." Edo period

Crane and Pine Kano Eitoku ( 1543-1590) Around 1566 sliding doors, ink and gold on paper Jukō-in (Daitoku-ji), Kyoto

painted for important person in important temple. Once again depicts four seasons.