The Painting of Sadness? the Ends of Nihonga, Then and Now Chelsea Foxwell

Total Page:16

File Type:pdf, Size:1020Kb

The Painting of Sadness? the Ends of Nihonga, Then and Now Chelsea Foxwell Downloaded from http://direct.mit.edu/artm/article-pdf/4/1/27/720685/artm_a_00104.pdf by guest on 24 September 2021 The PainTing oF SadneSS? The endS oF NihoNga, Then and noW Chelsea foxwell The notion that Japanese art could at any time become the expression of Western artistic genius or satisfy Western aesthetic demands is so ludicrously unphilosophical that I am surprised you should think it worth refuting.1 SIR FREDERICK LEIGHTON, 1888 The abrupt modernization process begun under foreign pressure caused various sad histories to be etched into this country. Art was no exception. The system by which two types of painting, nihonga (“Japanese Painting”) and yo–ga (“Western Painting”) would come to stand side by side, is none other than a monument to this sadness.2 KITAZAWA NORIAKI, 1999 1 Leighton’s statement appears quoted in Marcus Huish, “Is Japanese Art Extinct?,” The Nineteenth Century, no. CXIII (March 1888): 355. 2 Kitazawa Noriaki, “Kanashimi no kaiga” [The Painting of Sadness] (1999), reprinted in ‘Nihonga’ no ten’i [The Translocation of “Nihonga”] (Tokyo: Brücke, 2003), 80. All transla- tions in this text are the author’s unless otherwise noted. Individuals active primarily in East Asia are identifi ed with surnames fi rst. © 2015 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00104 27 The cavernous departure lobby of Tokyo’s Narita International Airport is split into two zones. On the ground are the usual harried masses of passengers, ticket counters, and baggage checks; in the air, a fifty-foot- long nihonga mural by Kayama Matazo– (1927–2004) entitled Sun, Moon, and Four Seasons (1992) invokes slower patterns of cosmic change.3 The contrast is almost allegorical. Throughout the tumult of 20th-century art, nihonga (modern Japanese-style painting) often appeared to drift on a different plane, quietly honing its references to Downloaded from http://direct.mit.edu/artm/article-pdf/4/1/27/720685/artm_a_00104.pdf by guest on 24 September 2021 past masterpieces and strategies for adapting “tradition” (that loaded word) to modern spaces.4 The attempt to define the concept and the tra- ditions of nihonga—an art form that Sato– Do–shin describes as perpetu- ally undefined and grounded “not in art, but in politics”—has mainly occurred behind the scenes, seemingly without resolution.5 In the midst of over a century of debate, however, one simple visual fact has received little attention: for about one hundred years, from the late Meiji period (1868–1912) through the 1990s, nihonga’s look and style remained remarkably consistent. As a practical matter, most institutions have taken the route of a material definition: nihonga is painting in mineral pigments, ink, and shell white, as distinguished from acrylic, oils, and other forms of so- called Western painting (yo–ga). Yet a glance at any compendium of works reminds us that beyond materials, there is also a dominant nihonga style: as in Kayama’s mural, nihonga is primarily polychrome painting, with precious metals and translucent colors blended with 3 This work is a facsimile image of a nihonga painting printed on large ceramic panels. 4 Ellen Conant’s seminal Nihonga catalog defined the art form as “all Japanese painting . from the late nineteenth century [forward and] executed, however loosely, in traditional media and formats.” Conant, “Introduction,” in Conant, with Steven D. Owyoung and J. Thomas Rimer, Nihonga, Transcending the Past: Japanese-Style Painting, 1868–1968 (New York: Weatherhill, 1995), 14. This volume is essential reading on nihonga; other key English-language overviews include Victoria Weston, Japanese Painting and National Identity: Okakura Tenshin and His Circle (Ann Arbor: Center for Japanese Studies, University of Michigan, 2004); John M. Rosenfield, “Nihonga and Its Resistance to ‘the Scorching Drought of Modern Vulgarity,’ ” in Births and Rebirths in Japanese Art: Essays Celebrating the Inauguration of the Sainsbury Institute for the Study of Japanese Arts and Cultures, ed. Nicole Coolidge Rousmaniere (Leiden: Hotei, 2001), 162–97; and John Clark, “Modernism and Traditional Japanese-Style Painting,” Semiotica 74, no. 1/2 (1989): 43–71. 5 Sato– Do–shin, ‘Nihon bijutsu’ tanjo–: Kindai Nihon no ‘kotoba’ to senryaku [The Birth of “Japanese Art”: Words and Strategies in Modern Japan] (Tokyo: Ko–dansha, 1996), 87–90, 154–56. On the status of tradition (or rather, traditions), see Gennifer Weisenfeld, “Re - inscribing Tradition in a Transnational Art World” (2007), in Contemporary Art in Asia: A Critical Reader, ed. Melissa Chiu and Benjamin Genocchio (Cambridge, MA: MIT artmargins 4:1 Press, 2011), 372–74. 28 white and applied to a stiff surface. The motifs are often few in num- ber, enlarged against a shallow or unfigured background. There is little concern with spatial depth or with bodies in motion. Religious and his- torical subject matter in the Meiji period gives way in later decades to depictions of women, the Japanese countryside, the natural world, and occasionally to abstraction. Of course there are exceptions; in every period, certain works have deliberately tested nihonga’s boundaries and dominant modes while still claiming to be nihonga. The painter Downloaded from http://direct.mit.edu/artm/article-pdf/4/1/27/720685/artm_a_00104.pdf by guest on 24 September 2021 Yamazaki Takashi (1916–2004) was one such example. Committed to producing and teaching nihonga even as he used formaldehyde to mold, wash, and abrade shell white (gofun) and mineral pigments after they had been added to the picture surface, he recalls declaring in 1946, “We’ve got to do something about nihonga’s anachronism—and the anachronism of the nihonga groups!”6 The conservative nihonga painters whom Yamazaki called anachro- nistic (that is, out of step with predominant artistic trends and concerns) found ready support in Japan until the 1990s, when, in the midst of Japan’s massive economic downturn, Aida Makoto (b. 1965), Ten - myo uya Hisashi (b. 1966), and several other artists with an ambivalent or antagonistic relationship to the category began to attract global atten- tion far outstripping that accorded to conventional nihonga. Their on- going international success has raised new questions about the health, prominence, and functions of the nihonga category, while no doubt pro- voking fresh fears and fantasies about its death. Is nihonga essentially an “anachronistic” art functioning outside of contemporary art at large and limited to promoting certain stories of Japanese nationhood?7 6 “Rekitei kara Panriaru e: Yamazaki Takashi shi ni kiku” [From Rekitei to Pan-Real: A Discussion with Yamazaki Takashi], Kyo–to shi bijutsukan nyu–su 152 (January 1988): 2. 7 Yamazaki’s 1946 complaint about nihonga’s anakuronizumu—by which he meant the reluctance to explore collage, surrealism, abstraction, and sociopolitical critique (catego- ries that had all been targeted by government officials during the war)—raises broader questions about global temporalities of artistic modernism: by accusing nihonga of being anachronistic or “outside the time” of Western modernism, Yamazaki was disparaging the nihonga groups for avoiding the main trends of Euro-American modernism, whose relevance and appeal he treated as universal. See Keith Moxey, Visual Time: The Image in History (Durham: Duke University Press, 2013), 5–22. Yet there is a further issue in Japan’s case: modernist styles had been targeted by the wartime authorities (Yamazaki offers several examples), while tradition-based nihonga was encouraged as propaganda. Here, rather than positioning Yamazaki’s comment within a discussion of global tempo- ralities of artistic modernism, I will try to stay close to Japan’s historical circumstances while inviting comparison with other cultures and circumstances. For further context, see Art and War in Japan and Its Empire, 1931–1960, ed. Asato Ikeda, Aya Louisa McDonald, and Ming Tiampo (Leiden: Brill, 2013). foxwell | the painting of sadness? 29 Downloaded from http://direct.mit.edu/artm/article-pdf/4/1/27/720685/artm_a_00104.pdf by guest on 24 September 2021 Kayama Matazo–. Sun, Moon, and Four Seasons, 1992. Facsimile of a nihonga painting printed on ceramic panels, 3.5 ∞ 39.2 m. Narita International Airport Terminal 2, Narita, Japan. Photograph by atakeK5_7_20d. Downloaded from http://direct.mit.edu/artm/article-pdf/4/1/27/720685/artm_a_00104.pdf by guest on 24 September 2021 Or is it, as its proponents have always emphasized, an open-ended category defined by its material experiments in mineral pigments and ink?8 Proceeding from the consciousness of nihonga as a historical product, yet aware that many museums in the United States continue to acquire contemporary non-Western art under two, often separate, departments, this article considers the nihonga category’s historical parameters and the terms of its continued existence in the present day. In the roughly one hundred years since nihonga’s solidification as a cat- Downloaded from http://direct.mit.edu/artm/article-pdf/4/1/27/720685/artm_a_00104.pdf by guest on 24 September 2021 egory of teaching, sale, and display, certain interlocutors have periodi- cally suggested that it was pointless, even damaging, to maintain nihonga as a field apart from current painting in general.9 In so doing, however, they also provoked the specter of nihonga’s dissolution that had been inherent in the moment of its founding. TradiTion and SegregaTion The romanticized notion of the death of Japanese art did not originate in Meiji Japanese thinking, but reflected the West’s own predicaments of cultural loss along with the self-centered perception that it was the Europeans and Americans who were ruining Japan. In his 1876 book A Glimpse at the Art of Japan, for instance, American art critic James Jackson Jarves claimed that the Japanese artisan worked alone, strove for perfection, and made an “aesthetic unity” of form and function. “But we have changed all this,” he argued, “as we are fast obliterating the ancient Japanese artisan and turning him into a machine-laborer .
Recommended publications
  • Illustration and the Visual Imagination in Modern Japanese Literature By
    Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work.
    [Show full text]
  • Nihonga Beside Itself: Contemporary Japanese Art's Engagement with the Position and Meaning of a Modern Painting Tradition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Nihonga Beside Itself: Contemporary Japanese Art’s Engagement with the Position and Meaning of a Modern Painting Tradition Matthew Larking Introduction The term nihonga (Japanese painting) is usually posited in opposition to that of yōga (Western-style painting). While yōga was characterized by the use of oil paints and also watercolors, incorporating the various movements of predominantly European modernism from nineteenth century Realism, Impressionism, Fauvism, Cubism and so on, nihonga was the umbrella term grouping together a host of pre-modern schools of painting such as the Kanō, Tosa and Maruyama and Shijō schools, ostensibly fusing them into a modernized form of traditional Japanese painting that retained the use of conventional mineral pigments and their binding agent nikawa, in addition to painting formats such as the hanging scroll and folding screen, and subject matters such as paintings of famous localities, history, myth, religion and the ‘beauties of nature’ (kachō fūgetsu). The terms nihonga and yōga were institutionalized in educational institutions from the late nineteenth century and exhibiting institutions such as the national juried exhibition, the Bunten (renamed the Nitten in the postwar period) from 1907. The distinction between nihonga and yōga remains a critical one in such institutions today as well as in the registration of works in a museum’s collection and their subsequent display and contextualization. The revival of nihonga in contemporary art in the 1980s was contemporaneous with the ‘new painting’ movements of the same decade in Germany, Italy, England and America under a variety of terms such a ‘new image painting’ and ‘neo-expressionism’.1 Many of the early artists came out of the nihonga course at the Tokyo University of the Arts and included Saitō Matthew Larking is Assistant Professor, Faculty of Global and Regional Studies, Doshisha University, Kyoto, Japan.
    [Show full text]
  • Japan's National Imagery of the “Holy War,”
    SENSÔ SAKUSEN KIROKUGA (WAR CAMPAIGN DOCUMENTARY PAINTING): JAPAN’S NATIONAL IMAGERY OF THE “HOLY WAR,” 1937-1945 by Mayu Tsuruya BA, Sophia University, 1985 MA, University of Oregon, 1992 Submitted to the Graduate Faculty of the School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Mayu Tsuruya It was defended on April 26, 2005 and approved by Karen M. Gerhart Helen Hopper Katheryn M. Linduff Barbara McCloskey J. Thomas Rimer Dissertation Director ii Copyright © by Mayu Tsuruya 2005 iii Sensô Sakusen Kirokuga (War Campaign Documentary Painting): Japan’s National Imagery of the “Holy War,” 1937-45 Mayu Tsuruya University of Pittsburgh, 2005 This dissertation is the first monographic study in any language of Japan’s official war painting produced during the second Sino-Japanese War in 1937 through the Pacific War in 1945. This genre is known as sensô sakusen kirokuga (war campaign documentary painting). Japan’s army and navy commissioned noted Japanese painters to record war campaigns on a monumental scale. Military officials favored yôga (Western-style painting) for its strength in depicting scenes in realistic detail over nihonga (Japanese-style painting). The military gave unprecedented commissions to yôga painters despite the fact that Japan was fighting the “materialist” West. Large military exhibitions exposed these paintings to civilians. Officials attached national importance to war documentary paintings by publicizing that the emperor had inspected them in the Imperial Palace. This study attempts to analyze postwar Japanese reluctance to tackle war documentary painting by examining its controversial and unsettling nature.
    [Show full text]
  • Eve LOH KAZUHARA Ruptures and Continuity in Pan-Asianism: New Insights Into India-Japan Artistic Exchanges in the First Half of the Twentieth Century
    Eve LOH KAZUHARA Ruptures and Continuity in Pan-Asianism: New Insights into India-Japan Artistic Exchanges in the first half of the Twentieth Century PhD student, National University of Singapore, Singapore. [email protected] In the first half of the twentieth century, India and Japan embarked on a series of intellectual and artistic exchanges from 1901 to the 1930s. The beginning of these exchanges is often recounted in the meeting of Okakura Kakuzō (1863–1913) and Rabindranath Tagore (1886–1941) and revolves around their successors, namely Yokoyama Taikan, Hishida Shunsō and Abanindranath Tagore. The narrative histories of these personalities overshadow other Japanese artists and their activities in India. In this paper, I propose to consider these other artists and their place in the Japan-Bengal exchanges. The discussion will consider the biographic narratives of these artists and centreon their activities and artworks, primarily in seeing how they differed from the afore-mentioned artists. In my view, the artistic affiliation of these artists pre-India, together with their ideological distance from Okakura’s Pan- Asianism, influenced their activities and reception of their work post-India. One of the motivations behind my paper was trying to situatethe artists who went to India, particularly those who have been mentioned albeit brieflyin both Japanese and non- Japanese sources. There were also instances of encountering works on India and Indian themes by nihonga (Japanese-style painting) artists and that made me wonder if there was a deeper or wider connection to other artists. My initial task was to collate as much information on the Japanese artists’ visits asthere was no detailed listing anywhere.
    [Show full text]
  • Marr, Kathryn Masters Thesis.Pdf (4.212Mb)
    MIRRORS OF MODERNITY, REPOSITORIES OF TRADITION: CONCEPTIONS OF JAPANESE FEMININE BEAUTY FROM THE SEVENTEENTH TO THE EARLY TWENTIETH CENTURY A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts in Japanese at the University of Canterbury by Kathryn Rebecca Marr University of Canterbury 2015 Table of Contents Acknowledgements ·········································································· 1 Abstract ························································································· 2 Notes to the Text ·············································································· 3 List of Images·················································································· 4 Introduction ···················································································· 10 Literature Review ······································································ 13 Chapter One Tokugawa Period Conceptions of Japanese Feminine Beauty ························· 18 Eyes ······················································································ 20 Eyebrows ················································································ 23 Nose ······················································································ 26 Mouth ···················································································· 28 Skin ······················································································· 34 Physique ·················································································
    [Show full text]
  • Chouhou by Yokoyama Taikan and “Expression”: Expressions of the Character’S Emotion in His Art
    AESTHETICS No.13 (2009) The Japanese Society for Aesthetics / 269 Chouhou by Yokoyama Taikan and “Expression”: Expressions of the character’s emotion in His Art UEDA Sayoko Tokyo National Museum, Tokyo Introduction In my previous research [1], I considered why Qu Yuan, which Yokoyama Taikan (1868- 1958) exhibited at the first Nihon Bijutsuin (Japan Art Academy) Exhibition in 1898, attracted so much attention at that time. I revealed that it was not because the painting implicitly portrayed Okakura Kakuzo (Tenshin) as the Chinese poet Qu Yuan, but rather because Qu Yuan was regarded as an excellent example of “Expression”, one of the three main themes Okakura had chosen for the Exhibition. These three main themes were described as follows: “Moreover, as our now position, the following three objectives must be the aims for young painters: we must develop our technique more and more following traditional rules, we must place importance on order and not make outrageous paintings, and we must represent “Expression.”[2] It was pointed out by Kinoshita Nagahiro that the meaning of this “Expression”, mentioned by Okakura, was quite vague [3]. However, after the autumn of 1897, the word “Expression” became a common in feature in critiques of Japanese-style paintings, but before spring 1897 this word was hardly seen at all. What were the reasons for this change? Answering this question is one the main objectives of this article. As will be discussed later, “Expression” in 1898 referred to the expression of the emotions of the characters in paintings. As Shioya Jun has already mentioned in his research [4], in history painting in the mid Meiji era, what was sought after was a psychological portrait of the paint- ing’s subject.
    [Show full text]
  • 9780816644629.Pdf
    COLLECTIVISM AFTER ▲ MODERNISM This page intentionally left blank COLLECTIVISM ▲ AFTER MODERNISM The Art of Social Imagination after 1945 BLAKE STIMSON & GREGORY SHOLETTE EDITORS UNIVERSITY OF MINNESOTA PRESS MINNEAPOLIS • LONDON “Calling Collectives,” a letter to the editor from Gregory Sholette, appeared in Artforum 41, no. 10 (Summer 2004). Reprinted with permission of Artforum and the author. An earlier version of the introduction “Periodizing Collectivism,” by Blake Stimson and Gregory Sholette, appeared in Third Text 18 (November 2004): 573–83. Used with permission. Copyright 2007 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401-2520 http://www.upress.umn.edu Library of Congress Cataloging-in-Publication Data Collectivism after modernism : the art of social imagination after 1945 / Blake Stimson and Gregory Sholette, editors. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8166-4461-2 (hc : alk. paper) ISBN-10: 0-8166-4461-6 (hc : alk. paper) ISBN-13: 978-0-8166-4462-9 (pb : alk. paper) ISBN-10: 0-8166-4462-4 (pb : alk. paper) 1. Arts, Modern—20th century—Philosophy. 2. Collectivism—History—20th century. 3. Art and society—History—20th century. I. Stimson, Blake. II. Sholette, Gregory. NX456.C58 2007 709.04'5—dc22 2006037606 Printed in the United States of America on acid-free paper The University of Minnesota is an equal-opportunity educator and employer.
    [Show full text]
  • Curriculum Vitae Makoto Fujimura
    Curriculum Vitae Makoto Fujimura Published Writings • 2021 “Art&Faith: A Theology of Making” Yale Press • 2017 "Culture Care: Reconnecting with Beauty for our Common Life” Intervarsity Press • 2016 “Silence and Beauty: Hidden Faith Born of Suffering ” Intervarsity Press • 2011 "The Aroma of the New," Books and Culture • 2009 "Fallen Towers and the Art of Tea," Chosen by Gregory Wolfe for "Bearing the Mystery: Twenty Years of Image," with Scott Cairns, Kathleen Norris, Wim Wenders, Annie Dillard, Denise Levertov and others • 2009 “Refractions: a journey of art, faith and culture,” NavPress • 2008 "Withoutside: Transgressing in Love," Image Journal, "Twentieth Anniversary Issue: Fully Human," Number 60 • 2002 "A Letter to a Young Artist," Scribbling in the Sand, Michael Card, InterVarsity Press • 2001 "Fallen Towers and the Art of Tea," Image Journal, Number 32 • Fall 2001 "An Exception to Gravity - On Life and Art of Jackson Pollock," Re:generation Quarterly, Volume 7, Number 3 • 1999 "River Grace," Image Journal, Number 22 • 2000 "That Final Dance," It was Good: Making Art to the Glory of God, edited by Ned Bustard, Square Halo Press Museum Exhibitions ___________________________________________________________________________________________________________ • 2019 Gonzaga University Jundt Museum "Silence and Beauty" Retrospective • 2018 Tikotin Museum, Israel, "Beauty of Silence" Retrospective • 2011 MOBIA (Museum of Biblical Art), New York, "On Eagles' Wings: The King James Bible Turns 400" • 2008-2010 To-ki-Michi, A Survey of Contemporary Nihonga, Ueno Royal Museum, Hakodate Museum, Ishikawa Prefectural Museum, and twelve other museums throughout Japan • 2008 Museum of Contemporary Art, Tokyo, Sanbi-shosha Collection Acquisition Exhibit • 2007 Sheldon Survey: An Invitational, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln • 2007 Flowers in Contemporary Nihonga, Tenshin Memorial Museum of Art, Ibaraki, Japan • 2006 Water Flames and Zero Summer, Katzen Arts Center, Washington D.C.
    [Show full text]
  • A Study of Ukiyo-E's Place in the Development
    PROGENITOR OR MERE PREDECESSOR: A STUDY OF UKIYO-E’S PLACE IN THE DEVELOPMENT OF MODERN MANGA THROUGH THE WORKS OF RUMIKO TAKAHASHI A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of The requirements for the degree MASTER OF ARTS by Julia Fields Jackson B.A., Pomona College, 2006 Kansas City, Missouri 2014 © 2014 JULIA FIELDS JACKSON ALL RIGHTS RESERVED PROGENITOR OR MERE PREDECESSOR: A STUDY OF UKIYO-E’S PLACE IN THE DEVELOPMENT OF MODERN MANGA THROUGH THE WORKS OF RUMIKO TAKAHASHI Julia Fields Jackson, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2014 ABSTRACT In their effors to understand the history of manga , or Japanese comics, scholars have struggled determining the timeline of this art form. While some historians begin their narrative as far back as the twelfth century with examples of art that might be classified as “pre-manga ,” some academics choose to cite the start point manga ’s timeline in the nineteenth century with the first usage of the term “ manga .” Others researchers are even more conservative, beginning their scope of manga ’s history with the techniques developed during the mid-twentieth century which yield artwork recognizable to today’s aesthetics. The study of manga is still in an embryonic state, and the scope of this genre of art is vast; these two factors create a challenge in establishing a timeline for manga ’s history. Although it would be convenient to consider the history of Japanese illustrative art as a timeline that leads directly to modern manga , the myriad of genres and styles complicate the researcher’s ability to make claims about the pertinence of any specific point on that timeline to the development of manga as it is known today.
    [Show full text]
  • An Introduction to Kimura Ryōko: Ikemen Paintings
    1 An Introduction to Kimura Ryōko: Ikemen Paintings MAKI KANEKO 2 1 俺はヒーロー I am a hero Ore wa hīrō 君だけの 君を守る I protect only you Kimi dake no kimi o mamoru 抱きしめる Holding [you] tight Dakishimeru 2 鍛えるよ 毎日 I train everyday Kitaeru yo mainichi 強くて そして かっこいい Strong and cool Tsuyokute soshite kakkoii Fig. 1 Kimura Ryōko, Heroes-Training 君の漢(おとこ)になるために To become your man’s man Boys 1 and 2, 2010, Spencer Museum of [or man among men] Art, The University of Kansas, Museum Kimi no otoko ni naru tame ni Purchase: Helen Foresman Spencer Art Acquisition Fund, 2013.0156.a.b 33 34 The pair of four-panel folding screens in the Fig. 3 Front cover in Kimura’s current practice, which focuses on a pseudo-scientific explanation for her choice, Spencer Museum’s collection titled Heroes- of Rose: How to images of ikemen. “the temperature of the male body is more stable Sex Visual Book Training Boys 1 and 2 (Heroes-Danshi tanreizu , Kimura’s first major works featuring the than women’s [because women have a period], and 2005, Courtesy of byōbu 男子鍛錬図屏風) features a group of the artist beautiful male figure was a series of five therefore men are more suitable to be a dish.”5 young Japanese men unabashedly displaying paintings titled Beauty of My Dish (Watashi no While the inclusion of assertive female their bodies (Fig. 1). This is a leitmotif of the nantaimori ryōri 私の男体盛り料理, Figs. 4–5). In figures in Beauty of My Dish is rather exceptional Japanese artist Kimura Ryōko 木村了子 (b.
    [Show full text]
  • Old Taoist This Page Intentionally Left Blank Old Taoist
    Old Taoist This page intentionally left blank Old Taoist The Life, Art, and Poetry of Kodo¯jin (1865–1944) Stephen Addiss Translations of and Commentary on Chinese Poems by Jonathan Chaves With an Essay by J. Thomas Rimer Columbia University Press New York columbia university press Publishers Since 1893 New York Chichester, West Sussex Copyright ᭧ 2000 Columbia University Press All rights reserved Columbia University Press wishes to express its appreciation to The University of Richmond, Robert Feinberg, The George Washington University Columbian School of Arts and Sciences, and Kurt A. Gitter for assistance in the publication of this volume. Library of Congress Cataloging-in-Publication Data Addiss, Stephen, 1935– Old Taoist : the life, art, and poetry of Kodo¯jin (1865–1944) / Stephen Addiss : translations of and commentary on Chinese poems by Jonathan Chaves ; with an essay by J. Thomas Rimer. p. cm. Includes index. isbn 0–231–11656-x (cloth) isbn 0–231–11657-8 (paper) 1. Fukuda, Haritsu, 1865–1944. 2. Authors, Japanese—20th century— Biography. I. Chaves, Jonathan. II. Rimer, J. Thomas. III. Title. pl806.k75z53 1999 895.6Ј144—dc21 99–31836 ࠗϱ Casebound editions of Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10987654321 p 10987654321 Dedicated to Audrey Yoshiko Seo and Elizabeth Anna Chaves This page intentionally left blank Contents Preface and Acknowledgments ix 1 Kodo¯jin’s Life and Art 1 2 Kodo¯jin’s Japanese Poetry 57 3 Kodo¯jin and the T’ao Ch’ien Tradition in Kanshi Poetry 73 by jonathan chaves 4 Kodo¯jin’s Chinese Poetry 89 translated by jonathan chaves 5 A Note on Kodo¯jin and the Art and Literature of His Period 155 by j.
    [Show full text]
  • Uemura Shōen and Splendid Japanese Women Artists
    Special 140th Anniversary Exhibition: Uemura Shōen and Splendid Japanese Women Artists Uemura Shōen, Composition of a Poem, Yamatane Museum of Art 18 April (Sat.) 2015 - 21 June (Sun.) 2015 (Closed on 7 May, and on Mondays, but open on 4 May.) Organized by: Yamatane Museum of Art and Nikkei Inc. With the cooperation of Jissen Women's Educational Institute Kosetsu Memorial Museum Hours:10am - 5pm (Last admission at 4:30pm) Admission Fees: Adults: 1,200 [1,000] yen; university and high school students: 900 [800] yen; middle school and younger children: free of charge *Figures in brackets are for groups of 20 or more, tickets purchased in advance, repeaters with used tickets, and for those who are wearing kimono. *Disability ID Holders and one person accompanying them are admitted free of charge. Highlights of the Exhibition ● Uemura Shōen: Uemura Shōen, Firefly, Color on Silk, Taishō Period, 1913, Yamatane Museum of Art Uemura Shōen, Firefly, Color on Silk, Shōwa Period, 1929, Yamatane Museum of Art Uemura Shōen, Evening, Color on Silk, Shōwa Period, 1935, Yamatane Museum of Art Uemura Shōen, Fragrance of Spring, Color on Silk, Shōwa Period, 1940, Yamatane Museum of Art Uemura Shōen, Young Lady, Color on Silk, Shōwa Period, 1942, Yamatane Museum of Art Uemura Shōen, Composition of a Poem, Color on Silk, Shōwa Period, 1942, Yamatane Museum of Art Uemura Shōen, Listening to a Cuckoo's Call, Color on Silk, Shōwa Period, 1948, Yamatane Museum of Art Uemura Shōen, Scene from the Noh Play Kinuta, Color on Silk, Shōwa Period, 1938, Yamatane Museum of Art Uemura Shōen, Feathered Snow, Color on Silk, Shōwa Period, 1944, Yamatane Museum of Art Uemura Shōen, Snowy Day, Color on Silk, Shōwa Period, 1948, Yamatane Museum of Art ●Noguchi Shōhin and Imperial Household Artists Noguchi Shōhin, Doll Festival, Color on Silk, Edo Period, 1863, Jissen Women's Educational Institute Kosetsu Memorial Museum Noguchi Shōhin, Beauty, Color on Silk , Edo to Meiji Period, c.
    [Show full text]