Japanese art and Keisai Eisen: Reality and unreality and the View of Shogetsu Pond

Japanese art and Keisai Eisen: Reality and unreality and the View of Shogetsu Pond

Lee Jay Walker

Modern Tokyo Times

If one views the stunning image of the View of Shogetsu Pond by Keisai Eisen, then only images of tranquility, order and a nation at peace comes to mind. It appears that nature, order and a majestic rural life fits smoothly together. Therefore, one can easily depict an image of idealism whereby nature and humanity blend together.

Likewise, if we take this image by itself and try to analyze the artist from such a scenic piece of art, then it would appear that the artist was at peace with himself. After all, buildings are in the background and the natural towering strength of the mountains in the distance seems to imply order and control. Also, the individuals in this piece of art seem in a natural order and the same applies to the pond, trees and every single aspect of the View of Shogetsu Pond.

However, looks can easily be deceiving because the artist Keisai Eisen faced many demons related to drink and owning a brothel. This reality seems a million miles away from the delightful scenery of the View of Shogetsu Pond.

Yet, Keisai Eisen was also known for wit and one never really knows how deep his drinking was. Likewise, was the brothel the “real deal” or something that the artist played up in order to generate rumors and whispers? In this sense, just like the image of the View of Shogetsu Pond, it is clear that many things are a mirage in life but often people change mirages and believe that they are true.

Or, it could just be that Keisai Eisen was disillusioned with the trappings of life. Therefore, this piece of art represents a distant desire within his soul. Yet, of course this is nothing more than pure speculation. In saying that, it is speculation which the artist would appreciate because he was blessed with so many talents related to art and writing.

Keisai Eisen once stated that he was “…a hard-drinking, rather dissolute artist.” This statement is clearly a mirage to reality. After all, Keisai Eisen was blessed with so many skills in the field of art and writing. He clearly knew that many individuals thought highly about his skills and this statement suits the wit of this amazing artist.

Turning back to the brothel comment then it is factual that this type of business did exist in Nezu, Tokyo. Yet, the reasons related to the usage and the role of Keisai Eisen remains debatable. Many individuals have stated various statements about the reality of this brothel. However, these comments are often conflicting. Therefore, speculation remains the order of the day with regards to the true nature of his role in this brothel.

It also could be that the View of Shogetsu Pond by Keisai Eisen lacked any real meaning to the artist. Yet, if you view this one majestic piece of art by itself, then it is nice to dream and think deeply. In this sense, the image and nature of Keisai Eisen represent the mirages of life whereby individuals try to understand the bigger picture. However, in the distance of time, then does the bigger picture mean anything?

http://www.viewingjapaneseprints.net/texts/ukiyoetexts/ukiyoe_pages/eisen3.html　

http://www.artelino.com/articles/keisai-eisen.asp　

leejay@moderntokyotimes.com　

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Japanese ukiyo-e art and modern ladies in traditional dress

Japanese ukiyo-e art and modern ladies in traditional dress

Lee Jay Walker

Modern Tokyo Times

Ukiyo-e art in Japan focused on many themes during its “golden period” in the Edo period and carried on into the Meiji era. The world of Japan comes alive visually within many areas of ukiyo-e art because of the subjects covered. It matters not if this art applied to the rich cultural aspects of Japan or the floating world which was truly dramatic.

Sometimes in modern Tokyo and throughout Japan you will see ladies in traditional Japanese clothes during special occasions. When this happens it is often like “looking into a mirror of ukiyo-e” and seeing “a ghost from the past” but which is truly part of the modern world.

This in itself highlights the richness of ukiyo-e in the field of showing traditional ladies in their splendid best. It is also evidence that while Japan is ultra modern, the old world remains powerful even if within “mirages” of the original meaning. Either way, if based on tradition or “mirages,” it is still a noteworthy connection with the past.

Ogata Gekko produced many stunning images of elegant ladies posing in tradition dress. Of course, countless other amazing ukiyo-e artists also focused on the same theme. Therefore, the richness of ukiyo-e art depicts many images of art related to women and this applies to high culture, erotic art (shunga), beautiful ladies (bijinga), ghosts and other themes.

In an earlier article by myself which was published in Modern Tokyo Times I state that “The real power in these images, I believe, applies to simplicity and how space, time, cultural richness and modern Japanese women were being portrayed. Indeed, the ideal image in a sense can still be seen in modern Japan when ladies dress in traditional styles. This can be seen clearly because a lot of thought, high quality materials, color schemes and other important areas are connecting with the images which Ogata Gekko is showing.”

The world of Ogata Gekko witnessed many changes because of the onset of modernity but if he was to come back today, then he would witness glimpses of the old world. Likewise, Torii Kiyonaga (1752-1815) excelled in the area of bijinga because of his amazing details and intricacies.

Torii Kiyonaga is one of the many amazing artists who belonged to the Torii school of art. He emphasized many aspects of women and traditional dress. This applies to high culture, stratification, sexuality, morality, natural elegance, shunga, bijinga and other areas. The art of Torii Kiyonaga is widely appreciated and when viewing his art related to bijinga and seeing a modern lady in traditional dress in Japan, it is easy to connect both together.

Torii Kiyonaga also highlighted exquisite color schemes and amazing embroidery. This aspect of his art would fit in naturally within elegant boutiques in modern day Japan. The special detail and attention given by this amazing artist meant that he depicted elegant and refined ladies, who look extremely beautiful. Therefore, during special occasions in modern day Japan you can see aspects of the world of ukiyo-e artists in relation to traditional Japanese dress.

In places like the Meiji shrine in Harajuku and sophisticated parts of Japan which focus on tradition like Kyoto, Nara, Nikko and many other parts of this fascinating nation. You can peer into the world of ukiyo-e artists, areas of bijinga and ladies in traditional dress. The ghosts of the past therefore remain within “a living tradition” which comes alive during special occasions, or in specific parts of Japan where high culture and tradition remains strong.

 

leejay@moderntokyotimes.com

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Japanese art and culture: Yoshu Chikanobu provides a rich glimpse into Japan

Japanese art and culture: Yoshu Chikanobu provides a rich glimpse into Japan

Lee Jay Walker

Modern Tokyo Times

Yoshu Chikanobu (Toyohara Chikanobu) lived between 1838 and 1912 and much of his art highlights the changing nature of Japan. The opening up of Japan after the Meiji Restoration provided many new dreams for Japanese citizens but it also was the start of the death knell for many artisans. This applies to the technological changes taking place and the changing values and thinking during this period of history.

Chikanobu, like other ukiyo-e artists in the Meiji era, understood the need to adapt because many new art forms were altering the artistic landscape in Japan. Western art especially impacted on the new generation of artists and political elites wanted to encourage modernism. Therefore, the new crème de la crème of young artists mainly adopted concepts outside of the powerful ukiyo-e art form which was so potent during the Edo period.

At the same time, technological advancements and photography were impacting greatly on ukiyo-e from a virtually negative point of view. The old ways which nurtured art in the Edo period, along with other forms of art, were being challenged by many new art movements. Also, photography would eat away at the need for ukiyo-e because it could not compete on a technological level playing field.

Chikanobu highlights an array of subjects in his art and this applies to the power of the past to the changing nature of Japanese society. He also depicted powerful historical figures in Japanese history to highlighting the nationalist side of the Meiji period which applies to war. Also, when you view Chikanobu’s art you can visually witness the imperial aspects of Western powers, which were being replicated in dress styles when it applied to elites.

Cultural wise, Chikanobu also painted many adorable themes. This applies to the Japanese tea ceremony, ikebana, kabuki, fashion in the changing Japan, and a plethora of other subjects. In this sense, Chikanobu opens up many aspects of Japan related to many themes. These themes also apply to the “old world” and “new world.”

The Toshidama Gallery (http://toshidama.wordpress.com) comments that “Chikanobu is one of the giants of the Meiji era of Japanese Woodblock prints. With Kunichika and Yoshitoshi, Chikanobu distinguished the turmoil of Japanese culture as it came to terms with the new age. Like them his life and career were inextricably linked to the upheavals in Japanese history and the near civil wars that characterized the time.”

Chikanobu and the series titled A Mirror of the Ages is also a classic because of the rich cultural themes related to women and fashion throughout the changing times. The Toshidama Gallery highlights this series strongly by stating that “This whole series is one of the outstanding achievements of late nineteenth century Japanese art. One of his best series, A Mirror of the Ages showed women by fashion and hair style throughout history. There is of course the longing for the past and yet these prints are unmistakably modern and of their time….The quality of printing is outstanding, especially in Chikanobu’s use of white for the rendering of the powdered faces. It is often forgotten by art historians that this was the period about all others when the technique of woodblock printing achieved its zenith whilst at the same time there were artists of stature to execute it.”

Other adorable print series include “Chiyoda no Ooku” (Court Ladies of the Chiyoda Palace) and “Shin Bijin” (True Beauties). Of course, Chikanobu produced many amazing pieces of art but both the above named series relate to genuine aspects of female beauty in Japan. This is highlighted by traditional clothes, for example the kimono, to the changing nature of the time which applies to Western dress styles.

In a past article about Chikanobu I comment that “Chikanobu not only witnessed the new revolutionary period and how elites looked to the West but by the late 1880s and early 1890s nostalgia also returned.  Obviously for the masses they were outside both themes and the only important thing was survival and adapting.”

The art of Chikanobu stands out dramatically and this not only applies to the exquisite skills that he was blessed with, but also to the themes that Chikanobu highlights. He certainly provides many glimpses into Japan which relate to the “old world,” cultural aspects of Japan, and the modernization of the Meiji period.

Overall, Chikanobu is one of the greats of the ukiyo-e art movement and given the plethora of fantastic ukiyo-e artists, this highlights his richness to the full. Therefore, if you adore Japanese art, culture, and history, then Chikanobu will appeal greatly because of the broad themes he depicted in his art.

 

http://www.toshidama-japanese-prints.com/item_216/Chikanobu-A-Mirror-of-the-Ages.htm

Please visit http://toshidama.wordpress.com for more articles and information.

Please visit http://toshidama-japanese-prints.com/ –   On our site you will see a wonderful selection of Japanese woodblock prints for sale. Ukiyo-e (the Japanese name for woodblock prints of the 18th and 19thcenturies) are beautiful, collectible and a sound financial investment

http://www.depauw.edu/news/index.asp?id=20942

http://moderntokyotimes.com

leejay@moderntokyotimes.com

Japanese art and Asai Chu: the eclipse of ukiyo-e by western style art

Japanese art and Asai Chu: the eclipse of ukiyo-e by western style art

Lee Jay Walker

Modern Tokyo Times

 

The Meiji Restoration of 1868 led to many social convulsions and like all revolutionary periods you had many winners and losers. This applies to individuals who could adapt to the rapid changes in society and the art world was no exception in Japan. Asai Chu (1856-1907) belonged to this changing world. However, in some ways he was lucky because he was young enough to understand these momentous events in Japanese history.

The old world of ukiyo-e would become eclipsed in the lifetime of Asai Chu despite some amazing Meiji ukiyo-e artists. Not surprisingly, Asai Chu became involved in the new wave of Japanese art which was heavily influenced by Western style artists. Of course, it wasn’t all one way because many Western artists like Van Gogh, Paul Gauguin, Claude Monet, Edgar Devas, James Abbott McNeill Whistler, Mary Cassatt, Henri de Toulouse-Lautrec, and many others, adored ukiyo-e and Japanese style paintings.

However, the technological developments of photography and other areas meant that ukiyo-e could not compete on a level playing field based on modernization alone. Also, different cultural influences and Japanese artists living abroad meant that new dynamics were at work. This implies that while technological change speeded up the artistic transition, the old order would have been usurped anyway because of cultural interaction and changing thought patterns. Therefore, for individuals like Asai Chu these were exciting times.

Ironically, the Meiji period did witness many fantastic ukiyo-e artists and it is because of these individuals that it managed to cling on for so long. Notable Meiji ukiyo-e artists include Yoshitoshi, Chikanobu, Kobayashi Kiyochika, Ogata Gekko, Kawanabe Kyosai, Toyohara Kunichika, Utagawa Yoshifuji, Mizuno Toshikata, Ginko Adachi, and several others. However, they were swimming “against the tide” despite their collective skills blessing the art world and enriching Japanese art.

Traces of the old world survived in modern Japan through new movements like shin-hanga but this area was limited when compared with the days of Hokusai, Hiroshige, Utamaro, and many other amazing artists, who belonged to the world of ukiyo-e. However, this isn’t to underestimate the shin-hanga movement because it produced many stunning artists like Ito Shinsui, Hiroshi Yoshida, and Kawase Hasui (to name just a few). Also, the bridge of the shin-hanga movement meant that “the shadow” of the old world was ticking but fused with new changes and thinking within this intriguing art form.

Asai Chu blossomed under Kunisawa Shinkuro and he was lucky enough to study under Antonio Fontanesi. The reason why he had this opportunity was because of the Meiji elites who wanted to transport the best of the Western world and fuse this with the best of Japan. Therefore, in the area of science, the arts, law, industrialization, military thinking, commerce, political systems, and so forth, the power of the West became embodied within the psyche of the new Japan. Of course, while new thought patterns emerged, the power of Japanese culture and different thought patterns meant that you had a lot of fusions. Therefore, in certain areas “a new way” emerged based on Japanization.

In an earlier article I stated that “The Meiji government hired Antonio Fontanesi in order that he would introduce oil painting from Europe and clearly Asai Chu learnt much because his passion and sophistication grew. When Asai Chu was in his forties he resigned from being a professor in Tokyo and moved to France for two years. This decision was wise because by studying at an impressionist art school he managed to enhance his artistic skill and techniques.”

“Also, the cultural aspect of studying in France meant that new styles of thinking and artistic creativity would further enrich his rich talents. This decision also shows that Asai Chu was still searching and despite the relative comfort of being a professor in Tokyo he was willing to take risks in order to pursue his love of art.”

The inquisitive nature of Asai Chu and his love of art meant that France would enhance him personally, and in turn he would influence many important Japanese artists when he returned home. This must have pleased the Meiji leaders who were involved in the arts because the younger generation of aspiring artists had an individual to look up. This is based on his stunning art and the rich knowledge that he had obtained in Japan and France.

Therefore, artists like Yasui Sotaro, Suda Kunitaro, Umehara Ryuzaburo, and many others, learnt many things from Asai Chu. On returning to Japan he became a professor at Kyoto College of Arts and Crafts and because of his enthusiasm for art, he was involved in many clubs related to this field. Therefore, just like the dynamic Meiji period it is abundantly clear that Asai Chu was equally creative and vigorous.

In my earlier article about Asai Chu and the role of the Meiji political leadership, I comment that “Meiji political leaders impacted on art in this period and introduced new art forms from outside of Japan. However, at the same time political leaders were concerned about preserving the richness of Japanese art and culture. This minefield wasn’t easy and conservatives and liberals understood what was at stake but for individuals like Asai Chu the issue was “art” and not politics or cultural engineering.”

Ukiyo-e was clearly on “borrowed time” because of the prevailing conditions and artists like Asai Chu re-invigorated Japanese art. The shin-hanga movement meant that the power of ukiyo-e was kept alive for many decades throughout the twentieth century. It matters not that the thought patterns, concepts, and art, were very different because the link is evidently clear for all to see.

However, the world of Asai Chu would impact greatly on Japanese art because so many other fellow nationals were inspired by Western art. However, in truth, each new movement will one day be eclipsed by new concepts, styles, and thinking. Therefore, the diversity of Japanese art is blessed by each special art movement irrespective if the roots began in Japan, China, France, Holland, or wherever.

leejay@moderntokyotimes.com

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Japanese art and Ito Shinsui: bijinga and fashion in stylish art form

Japanese art and Ito Shinsui: bijinga and fashion in stylish art form

Lee Jay Walker

Modern Tokyo Times

Ito Shinsui (1898-1972) is a “famous son” of Japanese art because his art is blessed with elegance, sophistication, and serenity. This is equally matched with natural simplicity and adorable color schemes when applied to his images of beautiful ladies and landscapes. Therefore, if you want to imagine the natural beauty of “the old world” and the stylish nature of traditional Japanese fashion styles for ladies, then Ito Shinsui does this with panache, amazing color schemes and elegant depictions of stunning ladies.

Indeed, the art work of Ito Shinsui is not only extremely beautiful and charming but the facial features of the ladies are very mysterious. This reality of the art work of Ito Shinsui is most striking. For he possesses a style which conjures up sublime beauty but within settings which are at one with nature and which don’t need to be sensationalized.

Also, the adorable color schemes highlight the exquisite beauty of traditional Japanese clothes for ladies. In terms of fashion, he enables the richness of Japanese culture to be seen through the majestic styles and color co-ordinations of traditional clothes, which just beg for admiration.

Therefore, in the modern world of fashion you will see many amazing boutiques which highlight the rich embroidery, creativity, and amazing fabrics, of modern day fashion. The same applies to visiting famous fashion shows in Paris, New York, Milan, Tokyo, London, and other high octane fashion exhibitions which highlight elegant models and various styles. However, the art of Ito Shinsui and the amazing styles he depicts would grace any modern fashion show. This applies to panache, grace, color schemes, rich fabrics, buzzing creativity, and other important factors.

On the website called Fujiland by B.C.Liddell it is stated that “Shinsui Ito was a central figure in Japan’s artistic identity crisis during the 20th century. As wave after wave of artistic ‘isms’ from overseas broke upon these shores, native artists felt compelled to either abandon their own rich artistic traditions or embrace them even more strongly. Ito … was one of those artists who chose the latter course, joining the Nihonga movement, which looked to Japan’s past for inspiration rather than the confusing plethora of ideas pouring in from abroad.”

“When he was 18, he joined Shinhanga Undo, a group which aimed to revive the methods and styles of ukiyo-e. This had a profound influence on the style and themes of his paintings which abound with the images of nature and feminine beauty found in traditional Japanese wood block prints. Joshin (Unsullied Morning) (1930), a beautiful picture depicting a group of naked women bathing in a natural hot spring combines both of these aesthetics. The color of the bathers is so softened by the steam and blended into the surrounding nature, that it is only the blackness of their hair that first alerts us to their presence.”

“Nihonga differs markedly from Western painting in the materials used. The emphasis, as with so much in Japanese culture, is on the use of entirely natural materials. Paper and silk, mounted on board, wall scrolls or on folding screens, are used instead of canvas.”

The most notable comment on this website about Ito Shinsui is that “Japanese art inspired by the imported artistic movements of the 20th century often looks derivative and dated, but the work of Shinsui Ito retains its sincere beauty and timeless appeal.”

Therefore, not only did Ito Shinsui maintain a connection with past Japanese art but his bijinga art is also timeless. This most certainly applies to his finest collection because you can connect the image with the most exquisite kimono during the Taisho and Showa period. However, because of the adorable color schemes and highlighting the stunning nature of traditional Japanese clothes – then, the fashion angle is equally rewarding because his powerful art isn’t out of place in the modern period.

Ito Shinsui truly belonged to the Shin Hanga art movement and Watanabe Shozaburo, a famous publisher, must be credited with opening up many doors for this amazing artist. Their relationship would remain strong for many decades and both individuals benefited.

The beauty of Ito Shinsui is that he connects the old art world of Japan with the new world in a way which is natural. His gracefulness is a wonder to behold. Therefore, he is fondly remembered for the art he produced and the “timeless” nature of his art is truly remarkable.

 

http://www.artelino.com/articles/ito_shinsui.asp

http://www.hanga.com/bio.cfm?ID=36

http://www.vernegallery.com/japanese-prints/Ito-Shinsui/32

http://frclarke.com/shinhanga/shinsui/shinsui.html

http://www.hanga.com/series.cfm?ID=29 

http://fujiland-mag.blogspot.jp/2010/10/exhibition-shinsui-ito.html

leejay@moderntokyotimes.com　

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Japanese art and Yokoyama Taikan: stunning art

Japanese art and Yokoyama Taikan: stunning art

Lee Jay Walker

Modern Tokyo Times

Yokoyama Taikan (1868-1958) was born in the prefecture of Ibaraki but he moved to Tokyo in 1878. This period of history in Japan would witness many events because time didn’t stand still during the Meiji, Taisho, and Showa periods of history. Not surprisingly, some of his work during the nationalist period was tinged by the sentiments of the time. Therefore, not all images of Mount Fuji by Yokoyama Taikan were solely based on art because they also had a political angle. However, irrespective of political issues, the artist himself was blessed with rich skills and his legacy is great.

When Yokoyama Taikan was a teenager he was fascinated by western style oil paintings and he was also interested in the English language. During his university days fellow classmates included Saigo Kogetsu, Hishida Shunso, and Shimomura Kanzan. This extremely talented bunch would all become famous in their own right and Yokoyama Taikan also studied under Hashimoto Gaho.

Once Yokoyama Taikan had graduated he entered the world of academia and this applies to teaching in Kyoto and then returning back to Tokyo to teach at the Tokyo Bijutsu Gakko. However, loyalty was very important to him therefore when Okakura Kazuko (Okakura Tenshin) was forced out of his job because of political reasons he also resigned. This highlights the importance of his background and the fact that he was principled to things that he believed in.

The death of his wife was followed by a period of travelling to Berlin, Boston, Calcutta, London, Paris, New York, and other cities. This must have impacted greatly on Yokoyama Taikan because each place had its own culture and the art world would have varied greatly.

Events in the 1930s eventually led to the Second World War and this meant that artists were being watched carefully in Japan and in other powerful nations. According to the Princeton University Art Museum with regards to art in Japan in this period, it is stated that “One artist who thrived in the ultra-nationalist pre-war environment was Yokoyama Taikan (1868–1959). Born at the beginning of the Meiji period, Yokoyama trained with Okakura early in his career. In 1931, he was appointed as artist to the imperial household, and produced numerous works that drew upon Japanese historical and literary themes. These he presented in a traditional style that drew upon the decorative styles of the Rinpa school and Momoyama–era screen painting. In 1943, Taikan became the chair of the Japan Art Patriotic Society (Nihon Bijutsu Hokokukai), which was set up by the Ministry of Education in an attempt to control the creative output of the country’s artists and put it in the service of its war-time ideology. Taikan in fact joined a number of other prominent artists in choosing to demonstrate his patriotism by contributing the profits from the sale of his works to the military effort.”

It must be remembered that artists, film stars, writers, and so forth, were put in the frontline at home irrespective if the artist resided in America, Germany, Japan, the United Kingdom, the Soviet Union, or in other nations which took part in the war. The loyalty that Yokoyama Taikan showed towards his mentor during his early life was part and parcel of his character. Therefore, he naturally followed the ideals of the society that he resided in during a time of crisis.

The legacy of his art isn’t in doubt because Yokoyama Taikan produced many stunning pieces of art and he influenced many important artists. Throughout his life he was always looking for new ideas and angles. Hopefully, this article and the images on view will entice some readers to delve more deeply into his life.

http://etcweb.princeton.edu/asianart/timeperiod_japan.jsp?ctry=Japan&pd=Modern 

leejay@moderntokyotimes.com

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Japanese art and Yumeji Takehisa: Taisho Romanticism and the shadow of Shusui Kotoku

Japanese art and Yumeji Takehisa: Taisho Romanticism and the shadow of Shusui Kotoku

Lee Jay Walker

Modern Tokyo Times

Yumeji Takehisa produced many stunning pieces of art but he never received the international acclaim that he fully deserved during his lifetime. He was born in 1884 and passed away in 1934 because of illness. Indeed, the final years of his life were left unfulfilled because despite producing striking pieces of art, his visit to America and Europe was mainly disappointing in 1931.

Yet when you look at the art of Yumeji Takehisa it is difficult to understand why he didn’t make a breakthrough internationally. After all, his art is visually very beautiful and you can feel the passion and creativity of this sublime artist. Not only this, when viewing his most notable art pieces it is clear that his unique style and sophistication hits the heart immediately.

Also, this energy and passion comes alive in his art work. Therefore, the lows in his life and lack of international recognition must have hurt him deeply because many lesser artists were received with much more attention.

Within Japan Yumeji Takehisa was highly regarded during his lifetime. On the Artelino website(http://www.artelino.com) it is stated that he was “Born in Honjo village of Okayama prefecture in the south of Honshu island, Yumeji Takehisa reached an outstanding popularity in Japan. As a painter, illustrator and printmaker he was one of the leading exponents of the Taisho period (1912-1926).”

It is also stated that “He also became famous as a writer and poet. Tokyo dedicated a museum to Yumeji Takehisa, where one can see his paintings, watercolors and art prints.”

Therefore, his art and other skills were noticed within Japan during his lifetime but this notably applies to lay circles. Yumeji Takehisa did know famous artists but he couldn’t really breakthrough when it came to contemporary academic circles. This also is a little mystifying given the creative nature of his art and the stunning images he produced.

Artelino comments that “Being active in the hanga (Japanese for “print”) movement, Yumeiji Takehisa was influenced by modern Western art, out of which a new style developed: “Taisho romanticism.”

“Takehisa became one of its major exponents – mainly in the field of color woodblocks. He filled the decorative element of this style with a melancholic, poetic atmosphere which formed a beautiful harmony with the charm of beautiful women.”

Indeed, the “Taisho romanticism” of his work suited his bijin-ga images because of the sensitivity of his most sublime pieces of art. It is also known that he was a strong friend of Shusui Kotoku (1871 – 1911) who was a well known socialist and anarchist.

Sadly, Shusui Kotoku also died very young after being executed for “alleged treason.” Given the “Taisho romanticism” of his work and adorable bijin-ga pieces of art, it is easy to believe that the “romanticism” of his friend impacted on his art work. Indeed, the liberalism of his lifestyle may also indicate that despite his friend being executed in 1911 – his “shadow” remained with the heart of Yumeji Takehisa.

The final period on this earth was very traumatic and difficult for Yumeji Takehisa but the spirit of Shusui Kotoku and himself remains long after their respective deaths. After all, despite both dying young their passion will always stay within the legacies they left and created within their respective work.

They died under different circumstances but both had fresh dreams and ideals. The legacy of Yumeji Takehisa is remarkable given the stunning art he produced and he truly deserves to be acclaimed internationally.

 

http://www.artelino.com/articles/yumeji-takehisa.asp

http://www.culturalnews.com/?p=539

leejay@moderntokyotimes.com

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Japanese art and Bunjinga (Nanga): the influence of China and Korea in the Edo period

Japanese art and Bunjinga (Nanga): the influence of China and Korea in the Edo period

Lee Jay Walker

Modern Tokyo Times

The Bunjinga school of thought ran deep within the literati of Japan during the Edo period. Bunjin (literati) artists trace their artistic roots to the literati of China during the Song Dynasty (960-1267). However, the differences between the Japanese literati and Chinese literati, is notable because of the opposite side of the coin applying.  Also, the isolationist policies of Japan in the Edo period meant that bunjin artists didn’t have the complete picture of the cultural reality of the Song Dynasty.

Bunjinga is also called Nanga and on the British Museum website it states that “The Japanese Bunjinga school of literati ‘scholar-amateur’ artists flourished in the eighteenth and nineteenth centuries. It is also known as Nanga (‘Southern painting’). The school was based on the literati movement that developed in China over a long period of time as a reaction against the formal academic painting of the Northern Song dynasty (960-1126). Rather than technical proficiency, literati artists cultivated a lack of affectation in an attempt to tune in to the rhythms of nature. In Japan, this was only partially understood: many Japanese bunjin were simply trying to escape the restrictions of the academic Kanō and Tosa schools while imitating Chinese culture. At first, the only models available were woodblock-printed manuals such as the Kaishien gaden (‘Mustard Seed Garden’) and a few imported Chinese paintings. Some Chinese monks of the ōbaku Zen sect taught painting in Nagasaki. Unlike their Chinese counterparts, the Japanese bunjin were not necessarily carefree artists and scholars from wealthy, bureaucratic backgrounds, and many had to sell their work to make a living.”

The political reality of the Edo period meant that Japanese artists were forbidden to travel to China. This policy was called sakoku (locked country) and clearly this prevented the real study of the Song Dynasty.  Therefore, the free movement of people leaving or entering Japan was enforced strictly and only limited “windows” were open.

Given this, the real terminology should be kaikin (maritime prohibitions) but from the point of view of bunjingaartists, then clearly sakoku created major restrictions in their pursuit of knowledge and reality. Japan wasn’t fully isolated because cultural meeting points happened with the people of Ryuku (Okinawa) and the Ainu. Also, Nagasaki, and a few other places, enabled outside cultural interactions despite the severe limitations on “real interaction” based on the freedom of movement.

Bunjinga artists therefore resided in a world where restrictions were put in place and clearly even in the modern world certain nations are still hostile to outside influences which threaten the status quo. For example, in modern day Saudi Arabia all converts from Islam face death, just like all converts to Christianity faced death during the Edo period. Meanwhile, in North Korea this nation wants to maintain severe restrictions on the outside world based on political motives. In both Saudi Arabia and North Korea many windows are open in the field of trade. However, despite the huge differences of these two nations, you do see aspects of sakokudespite major cultural, political, religious, and other differences in these societies.

Therefore, the world of bunjinga artists in this period of history had severe restrictions to overcome. However, unlike ukiyo-e artists who focused on many aspects of Japanese culture, mythology, history, the spirit world, and so forth; for bunjinga artists their problems were different because of their admiration of Chinese culture. This meant that ukiyo-e artists could connect with the world they knew but for bunjinga artists much of their literati world was clouded by the restrictions of obtaining real knowledge of the world they wanted to portray.

Famous artists who followed the bunjinga school of thought applies to Gion Nankai, Sakaki Hyakusen, Yanagisawa Kien, Okada Beisanjin, Kameda Bosai, Hanabusa Itcho, Ike no Taiga, Watanabe Kazan, Tomioka Tessai, Yosa Buson, Uragami Gyokudo, Tani Buncho, Takahashi Sohei, Okada Hanko, Ki Baitei , Matsumura Goshun, Yokoi Kinkoku (1761-1832), Yamamoto Baiitsu, Nukina Kaioku, Takahashi Sohei, Nakabayashi Chikuto, and many others.

In an earlier article by Modern Tokyo Times it was stated that “This school of thought flourished in the late Edo period and highlights the power of traditional Chinese culture in Japan despite the ongoing isolation of this nation. The bunjinga, the literati according to their mode of thinking, all had one binding feature and this applies to their deep admiration of traditional Chinese culture. This enabled their individuality to be linked together within the ideas and art work of bunjinga concepts.”

The Philadelphia Museum of Art comments that “The mid-eighteenth century in Japan was a time of political and social stability and economic prosperity. The Tokugawa family of military rulers (shogun) was firmly ensconced in the new eastern capital of Edo as the de facto political power, while the emperor reigned as spiritual and cultural sovereign in the ancient imperial capital of Kyoto in western Japan. Regional schools were established to spread the Chinese studies that the central government espoused along with the Confucian-based political system. The study of fields such as Chinese literature, music, and medicine became specializations among the educated elite of the newly rich merchant class as well.”

Therefore, while the Edo period is famous for being isolationist it is abundantly clear that the Tokugawa ruling elites spread the power of Chinese studies. This makes sense given the fact that the political system was Confucian based.

Influence of Korea

The role of Korea in this art movement is often neglected despite cultural interaction and influence which went in both directions. On the Princeton University Press website it is stated (based on the book by Burglind Jungmann) that “It is well known that Japanese literati painting of the eighteenth century was inspired by Chinese styles that found their way to Japan through trade relations. However, because Japanese and American art historians have focused on Japanese-Chinese ties, the fact that Japan also maintained important diplomatic–and aesthetic–relations with Korea during the same period has long been neglected. This richly illustrated, cogently argued book examines the role of Korean embassies in shaping the new Japanese literati style, known as Nanga in Japan.”

“Burglind Jungmann describes the eighteenth-century Korean-Japanese diplomatic exchange and the circumstances under which Korean and Japanese painters met. Since diplomatic relations were conducted on both sides by scholars with a classical Chinese education, Korean envoys and their Japanese hosts shared a deep interest in Chinese philosophy, literature, calligraphy, and painting. Texts, such as Ike Taiga’s letter to Kim Yusöng and Gion Nankai’s poem for Yi Hyön, and accounts by Korean and Japanese diplomats, give a vivid picture of the interaction between Korean and Japanese painters and envoys. Further, the paintings done by Korean painters during their sojourns in Japan attest to the transmission of a distinctly Korean literati style, called Namjonghwa. By comparing Korean, Japanese, and Chinese paintings, the author shows how the Korean interpretation of Chinese styles influenced Japanese literati painters and helped inspire the creation of their new style.”

The book by Burglind Jungmann called Painters as Envoys: Korean Inspiration in Eighteenth-Century Japanese Nanga is very intriguing because the Korean angle is neglected too much. However, cultural interaction within the richness of Chinese, Korean, and Japanese culture, went in all directions. Therefore, irrespective of the alterations which developed because of different cultural concepts within each different society – and within regions of all societies which had different energies and thought patterns – the Korean dimension is a reality and needs to be studied and highlighted more.

Timon Screech (School of Oriental and African Studies, University of London) comments that “This is an important book that will be useful to scholars and students alike. In elegant prose and with excellent scholarship, Burglind Jungmann proposes that Korean amateur painting had a large impact in Japan. This point has never been so closely argued before, in any language. The author has been diligent in finding little-known works in many collections around the world to support her claims. This is the first book on the subject, but it is much more than an introductory work.”

The bunjinga movement is interesting within the context of sakoku (locked country) because it opens up many intriguing questions. Also, the Korean dimension further hints at deep cultural interactions despite policies by the Tokugawa ruling elites.

Therefore, the bunjinga art movement is an area of great richness when it comes to art, thought patterns, cultural interaction, and understanding aspects of Japanese culture during the Edo period. Famous bunjingaartists have also left a rich legacy because of the art they left behind. This article is meant to intrigue people to delve into the many amazing artists who belonged to the bunjinga school of thought and then to focus on the shared civilization of Northeast Asia, despite the unique richness of all societies involved.

 

http://www.philamuseum.org/exhibitions/108.html?page=3

http://press.princeton.edu/titles/7743.html 

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Japanese art and Keisai Eisen: the early life of this acclaimed ukiyo-e artist

Japanese art and Keisai Eisen: the early life of this acclaimed ukiyo-e artist

Lee Jay Walker

Modern Tokyo Times

Keisai Eisen (1790-1848) learnt to be independent from an early age and he chose a path which was fraught with economic danger. In a sense, Keisai Eisen represents aspects of “the real Edo period” for individuals who resided in big cities in this period of history. This applies to many deaths within his family, poverty, uncertainty, and amidst all this chaos you had natural raw energy which manifested itself through the arts.

It is difficult for people in the modern world to connect with the reality of the old world. After all, infant mortality in Tokyo, Paris, Manchester, and all important cities in this period of history, was deplorable. Therefore, with the average lifespan being much shorter and the central state providing little in the way of cushions to help, then individuals had no time to dwell.

Of course, in all societies you always had “a small minority” who could enjoy the material comforts of this world. However, for individuals like Keisai Eisen, then the real world was about death, hardship, and seeing the world for what it is. Yet this didn’t mean “weakness” or “pity,” on the contrary, for Keisai Eisen this led to him being independent because he refused economic help from family relatives when he was a young man.

Keisai Eisen was born in the district of Hoshigaoka in Tokyo and today this applies to the Nagatacho area which is part of the Chiyoda district. His father, Ikeda Masabe Shigeharu, was a very interesting character. He was a low ranking warrior who enjoyed the finer parts of culture. This applies to enjoying poetry, tea ceremonies, reading, poetry, and writing. Therefore, this must have rubbed off on Keisai Eisen and indeed it was through his father’s friend that he apprenticed under Namiki Gohei.

Namiki Gohei was a kabuki/kyogen writer and when Keisai Eisen was a young adult he had hoped to become a professional kyogen writer. Kyogen applies to a form of traditional theatre in Japan. However, once more death within his family would impact on his dream and after this he focused on becoming independent and turned to the world of ukiyo-e and other means to survive.

Turning the clock back to when Keisai Eisen was a child then at the age of six he was adopted by his stepmother following the death of his mother. Therefore, when he was thinking of becoming a kyogen writer events turned against him because of death once more. This applies to the death of his father and stepmother in the same year when he had turned twenty years of age.

Given the circumstances of his reality and with having three sisters, then Keisai Eisen abandoned his dream of becoming a kyogen writer. Also, he bravely refused financial support from relatives who had wanted to help him. This indicates strongly that he was tenacious, independent, extremely determined, and pragmatic. After all, he had been dealt a difficult “deck of cards” but despite this he refused “any aces” which may help him in order that he could support himself.

Keisai Eisen distinguished himself in the field of ukiyo-e but his literature is also highly regarded. Indeed, some individuals believe that he was a ghostwriter for Tamenaga Shunsui and Yoshimi. These two writers of ninjou-bon (stories focused on ordinary people) were popular during their time but this theory is still openly debated. However, it highlights the quality of his writing to be linked with these two individuals irrespective of 100 per cent certainty.

Irrespective of what happened in the later years of his life it is clear that events during his young adulthood impacted greatly on Keisai Eisen. Also, the choices he picked when he was twenty years old, despite enormous adversity, were very admirable.

His artistic legacy is abundantly clear because he created many stunning pieces of art.

http://www.toshidama-japanese-prints.com/item_171/Eisen-Young-Woman-Walking-Under-an-Umbrella.htm

http://www.toshidama-japanese-prints.com

http://toshidama.blogspot.com/

http://www.artelino.com/articles/keisai-eisen.asp

Japanese art and Meiji period ukiyo-e (1868-1912)

Japanese art and Meiji period ukiyo-e (1868-1912)

Lee Jay Walker

Modern Tokyo Times

The Meiji Period (1868-1912) was very dynamic in many ways because new thinking, modernization, radical change, and a plethora of other factors, altered the cultural landscape in all major cities. However, the countryside often ticked to a different beat despite important reforms and major changes in the area of agriculture and amenities. In the field of ukiyo-e art it appears that the crème de la crème of Meiji ukiyo-e artists have been relegated or not acknowledged fully. After all, the emphasis in the past was mainly focused on Edo ukiyo-e artists.

Despite this, it is clear that you have many important Meiji ukiyo-e artists who blessed this art form. This notably applies to Chikanobu, Kawanabe Kyosai, Ogata Gekko, Yoshitoshi, Toyohara Kunichika, Utagawa Yoshifuji, Mizuno Toshikata, Kobayashi Kiyochika, and Ginko Adachi. The list could be added and for some of the above artists then clearly they began their careers during the Edo period but on each above individual the Meiji period impacted greatly on their art.

The Toshidama Gallery (http://www.toshidama-japanese-prints.com/) comments that “Whilst the date is significant, it is hard to say that prints produced before this date were ‘Edo’ and those made after were ‘Meiji’. There is however a clear trend in both subject matter, style and quality which becomes more apparent as the century progressed. Most striking is the use of colour. With progress came industrialisation and the ability to produce aniline dyes and commercial pigments. The distinctive reds, blues and violets of Meiji prints are hard to miss when compared to the vegetable and organic dyes of the early part of the century. Vibrant and sometimes harsh, only the great artists of the period such as Yoshitoshi and Kunichika were able to create subtlety or sophistication from the new colours. For an artist such as Kunichika, the new reds were the ‘colour of enlightenment’ and their use had political overtones as well as artistic purpose.”

“Subject matter for Meiji artists continued the tradition of picturing the still wildly popular kabuki theatre. In the case of artists such as Kunichika, the production of theatre prints still overwhelmingly made up the bulk of their commissions.  Historical subjects remained popular and often carried critical political undertones especially in the case of artists such as Yoshitoshi or Chikanobu who were sentimentally and politically attached to the previous administration. There was however, an increasing demand for picturing the new. In print series such as Yoshitora’s 53 Stations of the Tokaido Road of 1872, we see the use of telegraph poles as significant decorative devices – a sure reflection of the new era’s commitment to modernisation. Pictures of beautiful women had always been a staple of ukiyo-e production, but as in the case of Kunichika’s Mirror of the Flowering of Customs and Manners of 1878, these bijin pictures reflected the new western influences and stopped looking back to the dreamy floating world courtesans of Utamaro. Kunichika’s women are tougher, and have personalities and stories to tell and this is also the case in the work of Yoshitoshi, where women figure as identifiable characters for almost the first time in Japanese art.”

Obviously the dynamics of the time would inspire new thinking and creativity and the new vibrant color palette enabled new dimensions to develop. Other areas like multiple perspectival lines and detailed composition meant that times were changing. Of course, it is important to avoid generalizations because ukiyo-e artists in both periods of history, or who belonged to both the Edo period and Meiji period, had certain trademarks which belonged to each individual artist. However, the impact of modernization and the threat to ukiyo-e because of this meant that new focuses were needed in order to survive the Meiji period.

The reputation of some Meiji ukiyo-e artists is starting to grow and long may this continue. In the history of ukiyo-e the artists of the Meiji period had it hard because often the greats of the Edo period overshadowed them in popularity and international prestige. Also, unlike the ukiyo-e artists of the Edo period the changing world was challenging this art form because of multiple factors. Therefore, innovation was needed during the Meiji period because the power of photography was constantly growing and different art forms were gaining greater attention internally once Japan began to open up to the outside world.

Therefore, like I stated in an earlier article “Yoshitoshi was working against the onset of modernity because with the mass production of Western standards, for example in lithography and photography; he was fighting a losing battle.  However, he did keep the bursting dam at bay but the spark of passion could not keep the onrushing water out.  Therefore, Japanese woodblock print, which had been a beacon for Japanese art, succumbed to the onset of modernity and he, and countless others, must have felt the pain deeply.”

Yet despite everything the art work of Chikanobu, Kawanabe Kyosai, Ogata Gekko, Yoshitoshi, Toyohara Kunichika, Utagawa Yoshifuji, Mizuno Toshikata, Ginko Adachi, Kobayashi Kiyochika, and other Meiji ukiyo-e artists, was truly amazing. Therefore, each individual mentioned left behind many stunning pieces of art and they all provide a glimpse into the changing times of this period.

Meiji ukiyo-e artists just like Edo ukiyo-e artists should be judged on a case by case basis which applies to the art they produced. Of course differences will apply based on multiple factors but the issue shouldn’t be the period they belonged to. Instead, it should solely be based on the art they produced because both periods of history blessed the art world.

http://www.toshidama-japanese-prints.com/catalog.php?category=79

http://www.toshidama-japanese-prints.com/

http://www.toshidama-japanese-prints.com/item_222/Toshikata-A-Beauty-Looking-at-Autumn-Grass.htm

http://yoshitoshi.verwoerd.info/

http://www.yoshitoshi.net/

http://www.depauw.edu/news/index.asp?id=20942

http://www.ogatagekko.net/

http://www.ogatagekko.net/BMA.html – Stunning images from this website

http://www.ogatagekko.net/FFZ.html – Fantastic set of images which show the grace of Ogata Gekko

http://shogungallery.com/index.php?cPath=21_24_153

http://woodblockprint.com.au/44.html

leejay@moderntokyotimes.com

http://moderntokyotimes.com