COMPARISONS: 1) Japanese Art before 1392 not only influenced the further development of Japan's art and culture, but also that of Western civilizations. For example, many Impressionists in the 19th century employed techniques dominant in Japanese art. Specifically, Degas' "Morning Bath" in 1883 parallels the early print style hand scrolls of the upper class Japan, as previously seen in the Heian period’s “Scene from the Tale of Genji”. The lines and contours in the more contemporary piece mimic the “woman's hand” style of the Japanese scroll. The sharp diagonal of the bed is similar to the cutting and strict lines in Tale of Genji, though less in quantity and definition. The woman in Degas’s work has the same delicate black outline as the other figure, but the coloration of her skin added to shading and curvilinear volumes reveals the developed realism that the scroll lacks. While the Tale of Genji fully uses the blown away roof technique to make the viewer feel like they are looking straight down onto the scene, Degas only slightly elevates the angle and therefore reducing the flatness, but the Japanese influence is evident. 2) The Japanese dogu from the Jomon period of Prehistoric Japan hold several similarities with the Venus of Willendorf from the Paleolithic period in Europe. Although their purposes are debated, the exaggeration of certain features suggest their possible use as fertility figures. The Venus of Willendorf, with her exaggerated hips, featureless face, and defined breasts and pubic area suggest possible use as a fertility figure to pray for fertile harvests and good luck. The dogu figures have wide hips and thick legs and sometimes goggle-like eyes. They also have intricate cord designs and some have defined nipples that provide further evidence for possible use as fertility figures. 3) The Asuka period, Japan, was mainly revolved around the worshipping of Buddha before and after his enlightenment because it was a new religion brought to Japan by Korea. But it is also like European art in some ways. For example, the piece “Hungry Tigress Jataka” is like the piece “The Sacred Grove” by Pierre Chavannes in many ways. The figure composition in both of them is simple and elegant and everything is finely outlined. The colors are plain and solid and they both look fairly old with the overall composition. The figures seem to be types at first but then the viewer notices their individuality when they recognize Buddha in “Hungry Tigress Jataka” and the individual robes and figure shapes in “The Sacred Grove”. The fine lines and solid colors not only influenced “The Sacred Grove” but also others as well because it is a general technique and composition common in the Asuka period.
JAPANESE ART AFTER 1392
Ink Painting --monochrome blank ink and diluted grey
--heavily influenced by Zen Buddhism --shift away from earlier Zen Buddhism --more subtle and refined --Chinese-style landscapes were main focus instead of monks and teachers BUNSEI, LANDSCAPE, mid 1500s, ink and color on paper, 28 ¾” x 13” --spit of rocky land with overlapping series of motifs --spiky pine tree, craggy rock, a poet seated in a hermitage, and a brushwood fence holding back a small garden of trees and bamboo --in the mid-ground is space, emptiness and void --read emptiness as water --subtle tones of grey ink is people fishing --two parts of painting echo each other across vast expanse (just as nature echoes human spirit in Japanese art) --pure, lonely, serene spirit of Zen Buddhism influences poetic landscape tradition SESSHU TOYO, SPLASHED INK HABOKU LANDSCAPE, c. 1413, ink on paper, 3’ 8” x 2’ 6” --Haboku style (technique with Chinese roots) --paused to visualize image, then loaded brush w ink and applied broad rapid strokes --sometimes dripped ink directly onto paper --hovers at edge of legibility but not completely abstract --balance between spontaneity and thorough knowledge → artistic strength of painting --images of mountains trees buildings emerge from ink washed surface --two figures appear in boat --two swift strokes show the pole and banner of the wine shops SESSHU TOYO, WINTER LANDSCAPE, c. 1470s, ink on paper, 1’ 6 ¼” x 11 ½” --forceful style --cliff descends into mist; cuts composition in half --sharp jagged brushstrokes delineate series of rocky hills --lone figure makes his way to a zen monastery --no gradual recession into space --flat overlapping planes slice composition into crystalline facets --whites represent snow; grays represent sky --trees desperately cling onto rocky land --harsh chill of winter is boldly expressed IKKYU, CALLIGRAPHY PAIR, mid 1500s, ink on paper, 10’ 2 ⅞” x 1’ 4 ½” each --“Abjure evil, practice only the good” --began with standard script - stroke is separate and distinct. --as Ikkyu went down, he grew more excited and became script becomes cursive --Ikkyu’s brush did not leave paper at all by the end
--displays the intensity that is the hallmark of Zen Buddhism KANO, ZEN PATRIARCH XIANGYEN ZHIXIAN SWEEPING WITH A BROOM, 1513, ink and color on paper, 5’ 7 ⅜” x 2’ 10 ¾” --one of six panels depicting Zen patriarchs for sliding door paintings --in the abbot’s room in the Daito-kuji Zen temple in Kyoto --represents Xiangyen Zhixian at moment of achieved enlightenment --depict patriarch sweeping ground near rustic retreat as a roof tile falls at his feet and shatters --his zen training is so deep that the sound propels him into awakening/enlightenment --Kano displays exact precision in applying ink in bold outlines --he holds brush perpendicular to paper --thick clouds obscure mountainous setting and focus viewer on sharp angular rocks, bamboo branches and modest hut (all serve to frame patriarch) --lightly applied colors draw attention to Xiangen Zhixian --very different in style than Sesshu, Bunsei, etc. Zen Dry Garden --themes of elegant simplicity --personal profoundness --goal for monasteries is self sufficiency --monks expected to be responsible for physical and spiritual need s --simple tasks (weeding garden, cook meals, mending garments) - occasions for meditation in search of enlightenment --gardens not focus of detached viewing and meditations but objects of constant vigilance and work --dry landscape gardens of Japan exist in perfect harmony with Zen Buddhism Karesansui -- , “dried up mountains and water” STONE AND GRAVEL GARDEN AT AT RYOAN-JI, c. 1480 --in front of abbot’s quarters at the Zen Temple of Ryoan-Ji at Kyoto --one of the most renowned Zen creations --flat rectangle of gravel surrounds stones of different sizes in islands of mosses --stones in groups of 2, 3, 4 (assymetry) --low plaster covered walls mark the boundaries --beyond the wall; maple, cherry, pine trees add color/texture to scene - borrowed elements --borrowed scenery are elements important to design although outside garden --celebrated for severe sense of space and emptiness --miniature clipped plants and beautiful stones recreate famous paintings of trees/mountains (Chinese influence) --gardens become highly intellectualized abstract reflections of nature --island in the sea / mountain peaks in clouds / swimming tigress with cubs / constellations of stars and planets
--all or none of interpretations may be satisfying/irrelevant to monk seeking clarity of mind through contemplation --austere beauty of gravel has led many to meditation --emphasis on discipline and responsibility (unlike Pure Land Buddhism) --monks, warriors, aristocrats, merchants all studied and supported Zen temples SAIHOJI ZEN TEMPLE AND GARDEN, founded c. 739, revived 1339 --used to be a Pure Land monastery --became Zen institution in 14th century --Zen leaders did not attempt to erase other religious traditions --gardens include Pure Land elements but serve Zen meditative needs --echo two complementary roles of Pure Land and Zen (salvation and study/meditation) --pond in shape of the Japanese character of mind or spirit (symbolic of meditation) --famous for iridescent green mosses --arrangement of rocks and sand create contrast with dry cascade pools --examples of karesansui (dry landscape gardening) --rock stacks allude to a swift mountain stream rushing down --refreshes people after contact with real reality --traditional karesansui garden contains only rocks on raked sand Momoyama Period (1573 - 1615) HIMEJI CASTLE, Hyogo Prefecture, Japan, 1601-1609 --Nobunaga allowed Portuguese to trade with Japanese, introducing firearms --castles like Himeji built in response to muskets and cannons introduced by Europeans --near Osaka, called “White Heron”, rises above hill amid plains --angular paths and steep walls, path to castle is a giant maze that makes visitors feel lost, includes ladders, narrow gates --at top, view of countryside provides sense of power KANO EITOKU, FUSUMA (CENTRAL ROOM OF JUKO-IN), Daitoku, Kyoto, Japan, 1563-1573, 5’9 ” high --fusuma were paper-covered sliding doors with gold-leaf backgrounds --includes Kano school theme of pines and cranes, symbols of longevity --plum tree is symbol of spring--trees appear to extend beyond panels --brush and ink vigorous, jagged outlines like Sesshu, but much larger KANO EITOKU, CHINESE LIONS, late 1500s, color, ink, and gold leaf on paper, 7’4” x 14’10” --emphasis on militarism during time period --from Chinese mythology, associated with power and bravery --muscular bodies defined by broad contours --no setting elements, just a gold field --massive size contributes to dramatic impact
HASEGAWA TOHAKU, PINE FOREST, late 1500s, ink on paper, 5’1 ⅜” x 11’4” --used monochrome ink, loose brushwork --wet brush strokes, some prolonged, some short --pine forest shrouded in mist, almost formless, related to Zen tradition
SEN NO RIKYU, TAIAN TEAROOM AT MYOKIAN TEMPLE, Kyoto, Japan, 1582 --tea ceremony rooted from Zen practices. developed by Sen no Rikyu --involved people drinking tea while discussing utensils or scrolls --tearoom made of bamboo and wood, has mud walls, paper windows, tatami mats of woven straw --Tai-an room includes tiny door requiring crawling and tokonoma alcove for scroll or flowers --tatami mats don’t match alcove --simple, elegant, rustic, quiet, spatial clarity KOGAN (TEA CEREMONY WATER JUG), late 1500s, shino ware with underglaze design, 7” high --Sen no Rikyu believed in the power of character rather than blood, and similarly valued aesthetics of tea utensils rather than price --rough surfaces, heavy feldspar glazes --prominent crack and sagging contours are intentional, contribute to natural and accidental qualities in art Edo (Tokugawa) Period (1615 - 1868) EDGAR DEGAS (1834-1917), DANCERS IN THE REHEARSAL ROOM WITH DOUBLE BASS, 1 882-1885, oil on canvas, 15 ⅜” x 35 ¼” --many of Degas’ works in general showed much Japanese woodblock print influence--collected → many ukiyo-e works during 1860s inspired painting style--unusual cropped composition--asymmetrical framing--no spacial depth--lines converge as they reach not foreground/grow wider as they recede into flat background=diagonal planes--shadows used for 3D effect, only to emphasize flatness
VINCENT VAN GOGH (1853-1890), THE BRIDGE IN THE RAIN, 1887, oil on Canvas, 28.75” x 21.25”, Van Gogh Museum, Amsterdam --illustrates Van Gogh’s interest in Japanese art--painted after a woodcut by Utagawa Hiroshige--borders are filled w/calligraphic figures--Van Gogh made 2 other paintings like this: The Courtesan Flowering Plum Tree (after Eisen) and (after another print by Hiroshige)--distinct from original b/c different, brighter colors - enhanced color contrasts--influence of Japanese prints remains visible in Van Gogh’s later works, esp. his strong outlines & color contrasts--cropped compositions
PAUL GAUGUIN, THE VISION AFTER THE SERMON, 1888, oil on canvas, 28.75” × 36” --strong colours w/o gradients--ignored the rules of perspective like ukiyo-e--foreground figs too large - almost block the view on Jacob & Angel who traditionally should have been central elements--no shadow like ukiyo-e
MARY CASSATT (1844-1926), THE CHILD’S BATH, 1892, oil on canvas, 39” x 26” --downward perspective--influence of Japanese prints--unorthodox composition--bold outlines--subject=avoid sentimentality, inspired by Japanese print subjects--oriental rug underneath w/ lively patterns--Cassatt inspired by Degas works
RINPA SCHOOL
TAWARAYA SOTATSU, MATSUSHIMA SCREENS, 1600s, ink, mineral colors, and gold leaf on paper, 4’9 ⅞” x 11’8 ½” each ––boldly decorative style–asymmetrical, abstract patterns–right: mountainous islands echo sweep of waves w/stylized gold clouds in upper left–left: continues gold clouds until they become a sand spit from which twisted pines grow–branches seem to lean toward island in lower left–organic, amoebalike form in gold surrounded by mottled ink
HON’AMI KOETSU, BOAT BRIDGE, early 1600s, lacquered wood with sprinkled gold & lead overlay, 9.5” x 9” x 4⅜” Boat Bridge writing box–typical Rinpa fashion–motifs drawn from 10th-c. poem about boat bridge at Sano (eastern provinces)–lid presents subtle, gold-on-gold scene of small boats lined up side by side in the water to support temporary bridge–bridge itself, a lead overlay, forms a band across the lid’s convex surface–raised metallic lines on water, boats, bridge are Japanese characters from the poem–poem describes experience of crossing bridge as evoking reflection on life’s insecurities–box shows dramatic contrasts of form, texture, color marking Rinpa aesthetics–juxtaposition of bridge’s dark metal & box’s brilliant gold surface–gold decoration is sprinkling gold dust in wet lacquer–Koetsu designed it–specialists in metalworking & lacquering produced the box
OGATA KORIN, LACQUER BOX FOR WRITING IMPLEMENTS, 1750-1850, lacquer, lead, silver, and mother-of-pearl, 5 ⅝” x 10 ¾” x 7 ¾” Ogata Korin (1658–1716)=son of important textile merchant, painter who also designed lacquers in Koetsu’s manner–one of painted masterpieces=pair of 2-panel folding screens depicting red & white blossoming plum trees separated by stream–reduced motifs to a minimum for dramatic contrast of forms & visual textures like Koetsu’s writing box–landscape consists solely of delicate, slender branches, gnarled, aged tree trunks, an undulating stream–mixed viewpoints
(aerial view of stream, worm’s eye view of trees) to produce striking 2D pattern of dark forms on gold ground–contrast btwn dark motifs of stream & trees from varied painting techs–mottling of trees from “tarashikomi”=signature Rinpa technique, drop ink & pigments onto surfaces still wet with previously applied ink & pigments–sharply contrasted w/pattern in stream that is precise & elegantly stylized like a textile design–produced by applying pigment thru forms cut in paper stencil
Meiji Restoration & Modern Japan (1868 - present) Oil painting --teachers of sculpture & oil painting imported from Italy --became major genre in late 19th c. --Japanese artists traveled to Europe/America to study Ceramics --widespread appreciation for pottery due to traditional practice of tea ceremony & flower arranging --philosopher Yanagi Soetsu (1889–1961) promoted ideal of beauty inspired by Japanese tea ceremony --argued that true beauty can only be achieved in functional objects made of natural materials by anonymous craftspeople raku --ceramists created teabowls: allowed more intimate connection with viewer - formed completely by hand; believed any sort of mechanism involvement would detract from true message - shape of bowl = main priority - glazed, dried, then low-fired in raku specialized c harcoal burning kiln Nihonga --enthusiasm for Westernization led to resistance/concern over loss of Japanese identity --Ernest Fenollosa (1853 - 1908), American professor of philosophy & political economy @ Tokyo Imperial University, eager to preserve Japanese style in arts --joined with former student Okakuro Kakuzo (1862 - 1913) + others in movement leading to founding of an arts university dedicated to Japanese arts --goal = make Japanese painting viable in modern age vs. only preserving as relic --encouraged artists to incorporate Western techniques: --chiaroscuro, perspective, bright hues Architecture --20th century: public & commercial buildings rapidly transformed with Western influences --most prominent in modern Japanese culture --major contributions to both modern + postmodern developments