“Thanks to art, instead of seeing Formal Analysis of Japanese Art a single world, our own, we see it multiply until we have Japanese Art History before us as many worlds ARTH 2071 as there are artists.” Marcel Proust (1871 – 1922)

1 Formal Analysis of Japanese Art

21st Century Learning Skills 21st Century Learning Skills

• As technology evolves, the • Viewing and discussing pace of change accelerates. artworks challenge you to strengthen your • With constant change in our learning skills: future, the most important job –observing skill will be: – analyzing – Learning how to learn. – communicating

• The most important learning • In ART 2071 you'll skills are: sharpen those skills: – Observation – in class discussions – Analysis – in writing – Communication assignments

2 Formal Analysis of Japanese Art 3 Formal Analysis of Japanese Art

Analysis The Rich Aesthetic of Japanese Art

• Today you'll learn and • The purpose of this presentation is to teach you how to do a formal practice skills of formal analysis of an artwork to understand how artists communicate their analysis –how artists ideas, feelings, beliefs and values. This gives us a common combine elements and vocabulary for discussion. principles of design to create an image.

• In our next class you'll learn skills of contextual analysis – how religion, politics, economics, social organization, artistic and international influences affect artists and their patrons.

4 Formal Analysis of Japanese Art 5 Formal Analysis of Japanese Art

1 Formal Analysis of Visual Art Formal Analysis of Visual Art

• This presentation • Formal Analysis follows the outline in explores: your handout “Formal – Elements and Analysis of Visual Art.” Principles of Design – The Elements of Content – Composition • We’ll look at the Elements and Principles first.

6 Formal Analysis of Japanese Art 7 Formal Analysis of Japanese Art

Formal Analysis: Elements of Design Formal Analysis: Principles of Design

• The Elements of • The Principles of Design are the basic Design describe how building blocks of art: an artist combines the –Line Elements: – Color – Repetition – Shape – Emphasis – Texture – Balance –Space – Unity –Contrast

8 Formal Analysis of Japanese Art 9 Formal Analysis of Japanese Art

Formal Analysis: Elements of Content Formal Analysis: Elements of Design

• The Elements of Content are what the • First we will look at the • Elements of Design: artwork is about: Elements of Design. We’ll –Line – Subject matter use examples from our – Color – Ideas in the work textbook and other sources. –Shape – Intention of the artist –Texture – Symbols and –Space symbolism

10 Formal Analysis of Japanese Art 11 Formal Analysis of Japanese Art

2 Formal Analysis: Elements of Design Formal Analysis: Elements of Design

•Lines: •Lines: – Outlines, edge, – Variations of lines: silhouette, lines the image is built that define the up of more than shape and space. one type of line.

Amida Triad (Detail) 710 from Horyuji Playing the Koto in the Mountains by Mason fig. 101 Uragami Gyokudo Early 19th century Mason fig. 393 *

12 Formal Analysis of Japanese Art 13 Formal Analysis of Japanese Art

Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Warm colors: • The primary colors are • When they are mixed, they – red, yellow and made from pure color, not create the secondary orange mixed: colors: – seem to move – Red – Green towards us – Yellow – Purple –Blue –Orange

Ajmer Gate, Jaipur By Yoshida Hiroshi (1876-1950 Freer & Sackler Galleries

14 Formal Analysis of Japanese Art 15 Formal Analysis of Japanese Art

Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Cool colors: • This color chart shows the – blue, green and different color values: purple – pure colors are in the – seem to move center away from us – Tints are on the left – shades are on the right.

Fall At Ono on the Kiso Highway by Hokusai Katsushika 1831 Minneapolis Institute of Art

16 Formal Analysis of Japanese Art 17 Formal Analysis of Japanese Art

3 Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Colors change in • Colors change in value: value: – white is added to – black is added make a tint, a to make a lighter color. shade, a darker color.

Puppies in Snow Taj Mahal, Night By Isoda Koryusai 1778 By Yoshida Hiroshi 1932 Freer & Sackler Gallery Freer & Sackler Galleries

18 Formal Analysis of Japanese Art 19 Formal Analysis of Japanese Art

Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Saturation: • Less saturated – describes the colors: intensity of the colors – dull shades or tints – bright colors are of a color highly saturated – quiet or subdued colors

The World Which Woke Up Hachiman In The By Senoo Ichirou 1986 Guise of a Monk Web Exhibit By Kaikei 1201 Mason fig. 222

20 Formal Analysis of Japanese Art 21 Formal Analysis of Japanese Art

Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Texture: • Textures: – real textures are – implied textures those that can be are painted or felt drawn to look like real texture

Jomon Early Vase 5,000 – 2,500 BC Peacock (Detail of Screen) Dr. Hirayama By Ogata Korin (1658 – 1716) Scanned Image

22 Formal Analysis of Japanese Art 23 Formal Analysis of Japanese Art

4 Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Shapes: • Shapes: – geometric: made of lines, angles and measured curves – organic: following natural curves

Chujojin Hand Scroll Mid-12th century Mason fig. 142 – 144 *

Ise Inner Shrine, Founded 1st century, Mason fig. 60

24 Formal Analysis of Japanese Art 25 Formal Analysis of Japanese Art

Formal Analysis: Elements of Design Formal Analysis: Elements of Design

•Space: •Space: – two-dimensional – pictorial depth, with height and showing three- width, a painting, dimensional space print or photograph. on a two- dimensional surface

Detail from Hikone Screen Suido Bridge and Surugaidai 1624 – 1644 By Ando Hiroshige 1857 Mason fig. 283 The British Museum

26 Formal Analysis of Japanese Art 27 Formal Analysis of Japanese Art

Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Three-dimensional – having height, • Next we will look at the • Principals of Design: depth and width, Principals of Design. We’ll – Repetition such as a sculpture use examples from our – Emphasis or building. textbook and other sources. – Balance – Unity – Contrast

Bodhisattva from Kyoogokokuji c. 825 Mason fig. 157

28 Formal Analysis of Japanese Art 29 Formal Analysis of Japanese Art

5 Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Repetition: • Repetition: – repeating one or – Pattern, repeating more elements the same element to create an overall design

Raijin, God of Thunder Tabeko (Covered Box) By Kaigyokusai c. 1875 By Hirai Koshu 1924 – 1930 Diameter 2.5 inches Freer & Sackler Galleries L. A. County Museum of Art

30 Formal Analysis of Japanese Art 31 Formal Analysis of Japanese Art

Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Emphasis: • Balance - Symmetrical: – one part larger, – calm or formal, darker or brighter same on left and right, a mirror image; if a line is drawn through the middle, it is the same on the left and the right.

Amitabha Rising Above The Hills 14th century Pagoda at Daigoji th Freer & Sackler Galleries 10 century Mason fig. 167

32 Formal Analysis of Japanese Art 33 Formal Analysis of Japanese Art

Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Balance - Asymmetrical: • Unity: – energetic, unequal on the left and right – proportion, pleasing relationship of all parts to each other and to the whole

Haniwa Horse 300 – 550 AD Old Plum Screen Minneapolis Institute of Art Attributed to Kano Sansetsu 1645 Metropolitan Museum of Art

34 Formal Analysis of Japanese Art 35 Formal Analysis of Japanese Art

6 Formal Analysis: Elements of Design Formal Analysis: Elements of Design

• Unity: • Contrast - opposites, – Variety, differences that give interest to artwork differences between the elements: – line (straight vs. curved) – color (dark vs. light) – shapes (organic vs. geometric)

Lotus Sutras, Chapters 20-23 Handscroll, 1180 AD Freer & Sackler Galleries Tiger, One of A Pair of Screens By Yamada Yorikiyo c. 1550 Minneapolis Institute of Art

36 Formal Analysis of Japanese Art 37 Formal Analysis of Japanese Art

Formal Analysis: Elements of Content Formal Analysis: Elements of Content

• Subject Matter: • Next we will look at the • Elements of Content: – representational, a viewer can identify Elements of Content. – Subject Matter the subject - the We’ll use examples from our – Intention textbook and other sources. person, place or –Ideas thing –Symbols

Fudo Myoo at Todaiji 9th century Scanned Image

38 Formal Analysis of Japanese Art 39 Formal Analysis of Japanese Art

Formal Analysis: Elements of Content Formal Analysis: Elements of Content

•Subject: • Intention: – Non-representational, – record beautiful made of lines and/or people, places or shapes, but there is no things recognizable subject

Touch the Earth # 800 By Ida Shoichi 1994 – 1997 Iris Garden at Horikiri Freer & Sackler Galleries By Ando Hiroshige 1857 Minneapolis Institute of Art

40 Formal Analysis of Japanese Art 41 Formal Analysis of Japanese Art

7 Formal Analysis: Elements of Content Formal Analysis: Elements of Content

• Intention: • Intention: – honor a person or – record history, legend or tradition religious figure

Portrait of Minamoto Yoritomo (the first shogun) 13th century History of the Founding of Tsukimine Temple Kyoto National Museum By Tosa Mitsunobu 1495 Freer & Sackler Galleries

42 Formal Analysis of Japanese Art 43 Formal Analysis of Japanese Art

Formal Analysis: Elements of Content Formal Analysis: Elements of Content

• Intention: • Intention: – create beautiful – Experiment with objects to enjoy materials, everyday techniques or subjects - this is one of the first colored wood- block prints.

Negoro Bale-handled Footed Bowl Muromachi Period 1333 – 1573 Goro Uprooting a Bamboo Tree Minneapolis Institute of Art (hand-colored print) by Torii Kiyomasu 1697 Mason fig. 320

44 Formal Analysis of Japanese Art 45 Formal Analysis of Japanese Art

Formal Analysis: Elements of Content Formal Analysis: Elements of Content

•Ideas •Ideas: – Social commentary, a hero for a troubled time – Political - a condemnation of the Japanese military in WWII.

Hinomaru Illumination By Yanagi Yukinori, 1991 Mason fig. 468

Sugawara Michizane Expelled By Kiyochika Kobayashi 1884 Minneapolis Institute of Art

46 Formal Analysis of Japanese Art 47 Formal Analysis of Japanese Art

8 Formal Analysis: Elements of Content Formal Analysis: Elements of Content

•Ideas: •Ideas: – religious and – Artistic: continue spiritual, a traditions or experiment; powerful protector this painting uses of Buddha traditional ink and brush but uses Western perspective.

Waterfall in the Cascades Kujaku Myoo By Takashima Hokkai th 12 century (1850 - 1931) Tokyo National Museum Freer & Sackler Galleries

48 Formal Analysis of Japanese Art 49 Formal Analysis of Japanese Art

Formal Analysis: Elements of Content Formal Analysis: Elements of Content

• Symbols • Symbols – Myths and legends – Religious signs or ways of representing spiritual beings, the halo and lotus pedestal indicate a Buddhist deity

New Year’s Eve Foxfires By Ando Hiroshige, 1858 Standing Amida Nyori Buddha th Freer & Sackler Galleries 13 century Tokyo National Museum

50 Formal Analysis of Japanese Art 51 Formal Analysis of Japanese Art

Formal Analysis: Composition Formal Analysis: Composition

• Now we will explore • Composition is the the next last part of a manner in which the formal analysis: subject is presented: – Composition – Framing –Pose – Placement – Background – Lighting

52 Formal Analysis of Japanese Art 53 Formal Analysis of Japanese Art

9 Formal Analysis: Composition Formal Analysis: Composition

•Framing: • We’ll continue to use examples • Elements of Composition: – Point of view, how much of the from our textbook and other – Framing sources. subject is shown – Pose and from what – Placement angle – Background – Lighting

Vine by Moon By Ohara Koson (1877-1945) Freer & Sackler Galleries

54 Formal Analysis of Japanese Art 55 Formal Analysis of Japanese Art

Formal Analysis: Composition Formal Analysis: Composition

•Framing: •Pose: – Point of view, how – The position of the much of the living subject - a subject is shown person or an and from what animal angle

Ippen Hijiri Handscroll th Late 13 century Zochoten Guardian King Mason fig. 236, 237 * At Todaiji mid-8th century Mason fig. 114

56 Formal Analysis of Japanese Art 57 Formal Analysis of Japanese Art

Formal Analysis: Composition Formal Analysis: Composition

•Pose: • Placement – The expression on – grouping of persons or objects the face is an important part of the pose

Zochoten Guardian King At Todaiji mid-8th century Mason fig. 114 Ichikawa Danjuro VIII as Gongoro in Shibaraku (Poster for a kabuki performance) By Utagawa Kunisada, 1836, Fitzwilliam Museum

58 Formal Analysis of Japanese Art 59 Formal Analysis of Japanese Art

10 Formal Analysis: Composition Formal Analysis: Composition

• Placement • Placement – proximity, how – proximity, how near, how far near, how far

Monkey Reaching for the The Armor Pulling Scene Reflection of the Moon c. 1720 – 1738 By Ohara Koson (1877 – 1945) Freer & Sackler Galleries Freer & Sackler Galleries

60 Formal Analysis of Japanese Art 61 Formal Analysis of Japanese Art

Formal Analysis: Composition Formal Analysis: Composition

• Placement: sightlines • Placement - sightlines – horizontal lines are calming – Vertical lines are formal

Kannon Waves (detail of a screen) Late 12th century 17th century Freer & Sackler Galleries Freer & Sackler Galleries

62 Formal Analysis of Japanese Art 63 Formal Analysis of Japanese Art

Formal Analysis: Composition Formal Analysis: Composition

• Placement - sightlines • Background – diagonal lines imply movement – general, could be anywhere

The Actor Ichikawa Sadanji as Akiyama Kimori By Toyohara Kunichika 1894 Rice Planting (Detail from Four Seasons Screen) th Freer & Sackler Galleries 14 century, Tokyo National Museum

64 Formal Analysis of Japanese Art 65 Formal Analysis of Japanese Art

11 Formal Analysis: Composition Formal Analysis: Composition

• Background • Background – specific or historical – none

Moonlight Revelry at Dozo Sagami Courtesans Parading With Late 18th century Attendants Freer & Sackler Gallery By Suzuki Harunobu 1766 Minneapolis Institute of Art

66 Formal Analysis of Japanese Art 67 Formal Analysis of Japanese Art

Formal Analysis: Composition Formal Analysis: Composition

• Lighting • Lighting – flat lighting, no – contrasting with shadows highlights and shadows

Jitsukawa Enjaki in the Role of Danshichi By Natori Shunsen 1926 Night View, Sarawaku Street Freer & Sackler Galleries By Ando Hiroshige 1857 Minneapolis Institute of Art

68 Formal Analysis of Japanese Art 69 Formal Analysis of Japanese Art

Formal Analysis: Composition In Class Worksheet

• Lighting • It's time to practice your – dramatic focus, in new skills in analyzing a spotlight the formal elements of an artwork. • Each of you will have a worksheet with questions for one of the four areas of formal analysis. • You'll analyze a Japanese artwork, using your skills of observation Ichikawa Danjuro VIII as Gongoro in Shibaraku and analysis. (Poster for a kabuki performance) Snowy Night By Utagawa Kunisada, 1836 By Ito Shinsui 1923 Fitzwilliam Museum Minneapolis Institute of Art

70 Formal Analysis of Japanese Art 71 Formal Analysis of Japanese Art

12 Practice: Formal Analysis Formal Analysis of Art

• Answer the questions on your worksheet based on your close • I hope that you now have a better understanding of how Japanese observation of this artwork. artists use the Elements and Principals of Design, the Elements of Content, Composition and Style to express their feelings, ideas, values and beliefs.

Ichikawa Danjuro VIII as Gongoro in Shibaraku By Utagawa Kunisada, 1836, Fitzwilliam Museum

72 Formal Analysis of Japanese Art 73 Formal Analysis of Japanese Art

13