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