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A Case Study of the Short-Lived 18Th Century Akita Ranga Painting School in Japan

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A Case Study of the Short-Lived 18Th Century Akita Ranga Painting School in Japan Artl@s Bulletin Volume 10 Issue 1 Images in Circulation Article 3 2021 Travelling Images in the Global Context: A Case Study of the Short-Lived 18th century Akita Ranga Painting School in Japan Kuniko Abe Akita International University, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Asian Art and Architecture Commons Recommended Citation Abe, Kuniko. "Travelling Images in the Global Context: A Case Study of the Short-Lived 18th century Akita Ranga Painting School in Japan." Artl@s Bulletin 10, no. 1 (2021): Article 3. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Images in Circulation Travelling Images in the Global Context: A Case Study of the Short- Lived 18th century Akita Ranga Painting School in Japan Kuniko Abe* Akita International University, Japan Abstract By exploring early available travelling Western illustrations, image sources for the Akita Ranga painters in eighteenth century Japan, this article attempts to show how they devel- still- life images, and Western type illusionism, using Japanese traditional pictorial materi- als.oped, The merging Akita Ranga Japanese school’s traditional inventive Kanō compositional school aesthetics, framework new realistic is the consequence Chinese trends of forin- teraction with European models traced back to the famous Vesalius anatomy images with ukiyo-e prints, forming a full circle of the migration of images. landscape, finally reaching Europe via Resume En explorant les illustrations occidentales disponibles de l’époque, sources d’inspiration pour les peintres d’Akita Ranga du 18e siècle, cet article tente de montrer comment ils ont et l’illusionnisme occidental, en utilisant des matériaux traditionnels japonais. La composi- tionfusionné inventive les esthétiques de l’école japonaisesAkita Ranga de résulte l’école desKanō, interactions le nouveau avec courant des dumodèles réalisme européens chinois, incluant des images d’anatomie de Vésale avec paysage. Elle revient en Europe via les es- tampes ukiyo-é et réalise ainsi une circulation en boucle des images. *Kuniko Abe is an associate professor at the Faculty of International Liberal Arts and Institute for Asian Studies and Regional Collaboration of the Akita International University, Japan, specialized in Western and Japanese Art History in the World context and Cultural Heritage Studies. Artl@s Bulletin, Vol. 10, Issue 1 (Spring 2021) Abe – Travelling Images in the Global Context Introduction1 Vesalius and Valverde’s anatomy, Dodonaeus’s The short-lived Akita Ranga school,2 - manual on painting. flora, Jan Jonston’s fauna, and Gerard de Leiresse’s the first im eighteenth-century Japan, is considered a by-product The second phase aimed at identifying connecting portant Western- influenced painting school in of Rangaku - points between the school’s artworks and relevant tual phenomenon mediated by the Dutch East India image sources, such as the perspective images re- (Dutch learning)—a flourishing intellec of Western sciences. In Japan, the study of West- originally designed by Leonardo da Vinci, in France, Company (VOC), which facilitated a global diffusion lated to Chambord Castle’s double spiral staircases, ern sciences was conducted by means of the Dutch language and accompanied by a rich array of trav- the mythological motifs for the Marble Gallery elling images. The Akita Ranga school was formed herbal images connected with Shinobazu pond, in of the Frederiksborg Castle, in Denmark, and the of young samurai painters originating in the Akita Tokyo, Japan. domain, who had the opportunity to be exposed to inventive compositional framework was the con- circulation. The final phase sought to confirm that the school’s copper engravings of these scientific images then in sequence of its interaction with European models, Relying on previous studies of the school,3 the present article is the result of a three- year icono- portrayed within a landscape setting. The history and in particular with Vesalius’ anatomical figures graphical investigation into Akita Ranga artworks, of Akita Ranga’s artworks with their inspiring trav- including research conducted at local museums in elling images would later come full circle, when the Akita region, with the conscious intention to the school’s compositional framework, inspired explore the mobility of visual culture in the global by European models, reached Europe through the context vis-à- vis the local. The aim of this study was mediation of ukiyo-e, Japanese wood- block prints, to re-situate the artworks of the Akita Ranga school further illuminating the global circulation of im- within the broader context of global art history, tak- ages. By exploring travelling image sources for the ing a comparative perspective which demonstrates Akita Ranga painters, this article attempts to show the connections between the local artworks and the how they developed their unique style by merging travelling image sources that were current within Japanese traditional Kano school aesthetics, new the international arena at that time. The research took place in three phases. Western type illusionism and using Japanese tradi- realistic Chinese trends for still- life images, and tional pictorial materials. It will trace back the full - circle trajectory of these travelling images as they ern illustrations available during the Edo era (as In the first phase of the research, I explored West circulated around the globe. well as Chinese relevant image sources), including 1 In this article, Japanese persons’ names are given in the Japanese order: family name Background 2 There are long discussions about whether it is appropriate or not to call the group of Since 1642, during the Edo period, although there paintersfirst and givenof Akita name Ranga next. a school, and this has still not been determined. However, in this article, the term “school” is used, because at some points the artists of Akita Ranga were some links with other locations such as 3 - Hyakusuiformed a specificwho published unit with Nihona specific yōga style, shokō even (The if it Dawnlasted noof Western-more than Style ten paintingyears. ) (Tokyo: The first Iwanami, serious 1930).study of Since Akita then Ranga the school research was has initiated been conductedby the painter by local, Hirafuku and Ryukyu and Korea, Japan was officially closed, ex later, national scholars, while it was neglected by Western academics until recently which was the location of a Dutch factory and the cept for the trading post at Dejima in Nagasaki, Johnson’s pioneering study: Western Influences on Japanese Art: The Akita Ranga Art only contact point with the outside world. Dejima Schoolwhen research and Foreign by both Books Western (Amsterdam: and Japanese Hotei Publishing, scholars intensified 2005), Imahashi as seen Riko’sin Hiroko ex- tensive analytical study: The Akita Ranga School and the Cultural Context in Edo Japan was under strict government control, and until Japan, 2016), and Kobayashi- Sato Yoriko’s article: “Japan’s Encounters with the West (English Translation, Tokyo: LTCB International Library Trust/InternationalMeditating House of trading rights with Japan. In the 1720s, however, Netherlandish Art and Material Culture in Asia (Amsterdam: Amsterdam University 1858 only the Dutch and the Chinese had exclusive Press,through 2014). the VOC” in Thomas Dacosta Kaufmann and Michael North (eds.), there was a relaxation of the ban on the import of 27 Artl@s Bulletin, Vol. 10, Issue 1 (Spring 2021) Images in Circulation Abe – Travelling Images in the Global Context of Rangaku, or “Dutch Learning” mania, among Jap- and, it is said, taught him the principles of Western- non- Christian books, which led to the development (1750-80), in Kakunodate, Naotake’s hometown anese elites. This affected various aspects of society style painting techniques such as chiaroscuro. With and cultural practice, including Japanese painting - methods and subject matter. come the most important painter of Akita Ranga. this decisive encounter, Naotake would go on to be The artists of the Akita Ranga school, through their In this historical context, a group of Akita Ranga strong intellectual curiosity and artistic talent, and painters was formed in the late eighteenth century.4 under stimuli from the West, would invent a new Akita, at that time, was a geographically remote do- illusionistic style of painting while continuing to far from the main cultural centres. Akita was seem- main in the North of the main Japanese archipelago, ingly not a favourable location for this early appro- employ Japanese media (pigments on silk/paper). priation of Western techniques and style, compared Realism in Eighteenth-Century Japan to Edo, the prosperous capital and stimulating cul- The Akita Ranga style was partially affected by with Western novelties at that time. However, the tural centre, or Nagasaki, the only contact point area was rich in copper, which the Dutch sought to 沈南頻 the new realistic Chinese style, introduced by regularly secure for their needs through annual ne- 7 It was Shen Nanpin (1682-after 1760), a Chinese gotiations with the Tokugawa bakufu. known especially for its use of auspicious motifs – painter who came to Nagasaki in 1731. Like the leaders of other copper- producing do- by the intelligentsia among Rangaku scholars, this mains, the Lord of the Akita domain Satake Yoshi- mostly plants, flowers, and birds. Much appreciated - atsu 佐竹義敦 (1748-85), who was an excellent 宋紫石 (1715-86), painter under the artist name of Satake Shozan Chinese style was diffused all over Japan by Japa who lived in Edo, and who probably transmitted 佐竹曙山,5 played an important role in the tough nese followers such as Sō Shiseki negotiations over the Dutch demands.
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