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Facing Modern Times the Revival of Japanese Lacquer Art 1890-1950

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Facing Modern Times the Revival of Japanese Lacquer Art 1890-1950 Facing modern times : the revival of Japanese Lacquer Art 1890-1950 Dees, J. Citation Dees, J. (2007, March 15). Facing modern times : the revival of Japanese Lacquer Art 1890-1950. Retrieved from https://hdl.handle.net/1887/11458 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/11458 Note: To cite this publication please use the final published version (if applicable). file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt Facing Modern Times The Revival of Japanese Lacquer Art 1890-1950 ISBN: 978-90-8559-277-8 Optima Grafische Communicatie, Rotterdam Copyright © Jan Dees, Rotterdam, The Netherlands 2007 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 or otherwise, without the prior written permission of the author. Facing Modern Times The Revival of Japanese Lacquer Art 1890-1950 Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van de Rector Magnificus prof.mr. P.F.van der Heijden, volgens besluit van het College voor Promoties te verdedigen op donderdag 15 maart 2007 klokke 13.45 uur door Jan Dees geboren te Oostburg in 1946 Promotiecommissie Promotor Prof. dr. W. R. van Gulik Referent Dr. M. Kopplin (Museum für Lackkunst, Münster) Overige leden Prof. dr. C. J. M. Zijlmans Prof. dr. C. Jörg Prof. dr. T. M. Eliëns This publication was financially supported by the Heinz Kaempfer Fund. Voor René Bewerker van bokalen Op deze bokaal van zuiver zilver – die gemaakt is voor Herakleites’ woning, waar in hoge mate zin voor schoonheid heerst – zie: sierlijke bloemen, en beken, en wilde tijm, en in het midden plaatste ik een mooie jonge man, naakt, en sensueel; in het water heeft hij nog zijn ene been. -Ik smeekte u, herinnering, mij zo goed je kunt te helpen om het gezicht file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt (1 of 143)27-3-2007 12:25:14 file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt van de jongen die ik liefhad weer te geven als het was. Groot is de moeilijkheid gebleken, aangezien al bijna vijftien jaren vergaan zijn sinds de dag waarop hij, als soldaat, viel in de verloren slag bij Magnesia. Alexandrië 1921 K.P. Kaváfis (1863-1933) (vertaling: Prof. dr. G.H. Blanken, 1977) Contents Preface XV Introduction 1 Chapter I Japanese lacquer art 1850-1950 1. Introduction 5 2. The late Edo market (1800-1868) 5 3. The crisis (1868-1873) 7 4. Survival by means of export: Art Industry (1873-1890) 10 5. Revival (1890-1920) 13 6. The struggle for recognition (1920-1930) 16 7. Tradition continued (1920-1940) 19 8. Modernity established (1930-1950) 20 9. Parting of ways (after 1950) 22 * Pioneers of Japanese lacquer art 1890-1950 Chapter II Shirayama Shosai (1853-1923) 1. Introduction 29 2. Biography 29 2.1. Childhood, training and the Kiritsu years (1853-1890) 29 2.2. An independent course (1890-1905) 31 2.3. Influence and fame (1905-1923) 33 3. Work 34 3.1. Collections 34 3.2. Objects 34 3.3. Grounds 34 3.4. Subjects 35 3.5. Decoration techniques 36 3.6. Signatures 37 3.7. Chronology of styles 38 4. Conclusion 38 Chapter III Akatsuka Jitoku (1871-1936) 1. Introduction 43 2. Biography 43 2.1. Childhood, training and early success (1871-1905) 43 2.2. Commissions from the court (1905-1920) 44 2.3. Champion for recognition (1920-1936) 45 3. Work 47 file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt (2 of 143)27-3-2007 12:25:14 file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt 3.1. Collections 47 3.2. The ‘Moonlight style’ (1900-1905) 47 3.3. The ‘Sunlight style’ (1905-1920) 48 3.4. ‘New ways’ (1920-1936) 49 3.5. Signatures 50 4. Conclusion 50 Chapter IV Rokkaku Shisui (1867-1950) 1. Introduction 55 2. Biography 55 2.1. Childhood, training and early career (1867-1898) 55 2.2. To America and the lacquer artist as businessman (1898-1920) 57 2.3. The roaring twenties (1920-1935) 59 2.4. Wartime (1935-1950) 60 3. Work 61 3.1. Collections 61 3.2. Works before 1920 61 3.3. Works after 1920 62 3.3.1. Copies 62 3.3.2. The linear style 62 3.3.3. Metal plaques 63 3.3.4. The rough style 64 3.3.5. Remaining works 64 3.3.6. Appraisal 65 4. Conclusion 65 Chapter V Yamazaki Kakutaro (1899-1984) 1. Introduction 71 2. Biography 71 2.1. Childhood and education (1899-1925) 71 2.2. Mukei and the journey to Europe (1925-1950) 72 2.3. Official career (1950-1984) 74 3. Work 76 3.1. Collections 76 3.2. Objects 76 3.3. Subjects 76 3.4. Techniques 77 3.4.1 Sprinkled designs 77 3.4.2 Plain colours 78 3.4.3 Cashew 80 3.4.4 Textile patterns 80 3.4.5 Rough textures 81 3.4.6. Mottled pictures 81 3.5 Stylistic features 82 4. Conclusion 82 * Manufacturers of traditional utensils 1890-1950Chapter VI Lacquered pipe cases 1. Introduction 85 file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt (3 of 143)27-3-2007 12:25:14 file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt 2. Early examples 85 3. Kiseruzutsu versus inro 86 4. Schools and individual artists 87 5. Utensils, fashion accessories or collector’s items? 89 Chapter VII Pipe cases by Ikeda Taishin 1. Introduction 93 2. Taishin and his pupils 93 3. The album of charcoal rubbings 94 3.1. Akazuri 94 3.2. The album 94 3.3. The contents 95 3.4. Signatures 95 3.5. The bodies 95 3.6. Subjects 95 3.7. Techniques 96 3. Discussion 96 Chapter VIII Ganshosai Shunsui 1. Introduction 99 2. Work 99 2.1. Collections 99 2.2. Objects 100 2.3. Subjects 100 2.3.1. Warriors 100 2.3.2. Court ladies 100 2.3.3. Related subjects 101 2.3.4. Unrelated subjects 102 2.4. Style and technique 102 2.5. Signatures 103 3. Dating 104 4. Conclusion 106 Chapter IX Uzawa Shogetsu 1. Introduction 109 2. Biography 109 3. Works 112 3.1. Collections 112 3.2. Objects 113 3.3. Grounds 113 3.4. Subjects 113 3.5. Decoration techniques 115 3.6. Signatures 115 3.7. The Spring-Autumn writing box 116 4. Conclusion 117 * Chapter X Storage boxes for lacquer objects 1. Introduction 121 2. Terminology 122 file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt (4 of 143)27-3-2007 12:25:14 file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt 3. Inscriptions 122 3.1. Title of the art object 122 3.2. Signatures and seals 123 3.3. Co-workers 124 3.4. Techniques 124 3.5. Sources of inspiration 124 3.6. Year of manufacture 125 3.7. Name of the customer 125 3.8. Name of the benefactor/beneficiary 126 3.9. Name of the collector 126 3.10. Exhibition data 126 3.11. Auction and collection numbers 127 3.12. Authentications 127 3.13. Other inscriptions 128 4. Unwrapping the work of art 128 Conclusion 131 Samenvatting (in Dutch) 134 Appendices 139 List of Illustrations 148 Bibliography 156 Acknowledgements 165 Index 169 Curriculum vitae (in Dutch) 173 Illustrations 175 Preface During my visit to Japan in 1983, the MOA Museum of Art in Atami staged the major exhibition ‘Japanese Lacquer Art of Recent Times’. It was an overwhelming experience, which at once convinced me that the prevailing opinion in the West of the insignificance of Japanese lacquer art after the mid-19th century was false. When one or two years later a theme had to be chosen for the 50th anniversary exhibition of the Society for Japanese Arts, I was happy to learn that several other members of the Exhibition Committee were also in favour of ‘the art of the Meiji period’ (1868-1912). Being in charge of the lacquer section, wonderful opportunities arose to visit private and museum collections throughout Western Europe, among them the great collections of Edward Wrangham in Northern England and the Baur Collection in Geneva. These visits deepened my interest in lacquer art and formed the beginning of an invaluable network of worldwide contacts with knowledgeable collectors, curators, artists, dealers and auctioneers. Particularly fruitful was the acquaintance with the newly appointed keeper of the Baur Collection, Frank Dunand, since this museum houses the most comprehensive collection of early 20th century lacquer outside Japan. Our cooperation resulted in my first publication, on Uzawa Shogetsu, in 1986. Although the Society’s 1987 anniversary exhibition in the Municipal Museum of The Hague was entitled ‘Meiji, Japanese art in transition’, I already smuggled in quite a few objects from the Taisho period (1912-1926). Having achieved something in the field and able to show a catalogue as a trophy, I felt file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt (5 of 143)27-3-2007 12:25:14 file:///O|/Keur/proefschriften/2007/03/Dees_J/Jan+Dees+BW+compleet-1.txt confident to contact museums and private collectors on the East Coast of the USA, resulting in visits to famous collections in New York, Boston and Baltimore.
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