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

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28 artmargins 4:1 5 occurred behind the scenes, seemingly without resolution. without scenes,seemingly the behind occurred mainly politics”—has in but art, in grounded “notand undefined ally 4 3 Matazo Kayama by mural long nihonga air,afifty-foot- the in checks; baggage and counters, ticket passengers, of masses harried usual the are ground the zones. On two splitinto is lobby of Tokyo’s Airport International departure cavernous Narita The ditions of nihonga ditions painting, with precious metals and translucent colors blended with colors blended with translucent and metals precious with painting, polychrome primarily is nihonga Kayama’s in mural, as style: nihonga adominant also is there beyond materials, that us works reminds called Western painting ( Western painting called of so- forms other and oils, from acrylic, distinguished white, as shell and ink, pigments, mineral in painting is nihonga definition: material consistent. remarkably remained 1990s, nihonga the (1868–1912) through Meiji period late for from the about years, one attention: hundred little received has of debate, fact however, one of over simple acentury visual midst change. (1992) of cosmic Four and Seasons Moon, invokes slower patterns word) spaces. to modern loaded (that “tradition” for adapting strategies and masterpieces past references its to honing quietly plane, on adifferent to drift appeared often painting) Japanese-style (modern nihonga art, 20th-century Sato Ellen Conant’s seminal seminal Conant’s Ellen panels. ceramic large on printed painting anihonga of image afacsimile is work This “Modernism and Traditional Japanese-Style Painting,” Painting,” Japanese-Style Traditional and “Modernism Cultures and Arts Japanese of Study the for Institute Sainsbury the of Inauguration the Celebrating Vulgarity,’ of Modern Drought Scorching ‘the to Resistance and Its “Nihonga Rosenfield, M. John 2004); of Michigan, University Circle His and Tenshin Okakura Identity: Weston, Victoria include overviews English-language key on reading essential is volume This 1995), 14. York: Weatherhill, (New Rimer, J. Thomas and D. Owyoung Steven with Conant, in “Introduction,” Conant, formats.” and media traditional in loosely, however executed, and] [forward century nineteenth late the from Press, 2011), 372–74. 2011), Press, Reader A Critical Asia: in Art Contemporary in World” (2007), Art aTransnational in Tradition inscribing “Re Weisenfeld, Gennifer see traditions), (or rather, tradition of status the On 154–56. “Japanese Art”: Words and Strategies in Modern Japan] (Tokyo: Ko (Tokyo: Japan] Modern in Strategies Words and Art”: “Japanese As a practical matter, most institutions have taken the route the of a have taken institutions most matter, apractical As – Do 3 The contrast is almost allegorical. Throughout the tumult of tumult the Throughout allegorical. almost is contrast The – ‘Nihon bijutsu’ tanjo bijutsu’ ‘Nihon shin, , ed. Nicole Coolidge Rousmaniere (Leiden: Hotei, 2001), 162–97; and John Clark, Clark, John and 162–97; 2001), Hotei, (Leiden: Rousmaniere Nicole Coolidge , ed. , ed. Melissa Chiu and Benjamin Genocchio (Cambridge, MA: MIT MIT MA: (Cambridge, Genocchio Benjamin and Chiu Melissa , ed. —an art form that Sato that form art —an 1868–1968 Painting, Japanese-Style Past: the Transcending Nihonga, Nihonga 4 The attempt to define the concept and the tra the the andconcept to define attempt The yo – ga catalog defined the art form as “all Japanese painting . painting Japanese as “all form art the defined catalog – [The Birth of of Birth [The senryaku to ‘kotoba’ no Nihon : Kindai ). Yet of at compendium any aglance (Ann Arbor: Center for Japanese Studies, Studies, for Japanese Center Arbor: (Ann

” in ” in – Births and Rebirths in Japanese Art: Essays Essays Art: in Japanese Rebirths and Births (1927–2004) entitled Sun, (1927–2004) entitled – Do – shin describes as perpetu as describes shin Semiotica Japanese Painting and National National and Painting Japanese 74, no. 1/2 (1989): 43–71. ’s style look and – dansha, 1996), 87–90, 87–90, 1996), dansha, ; other ; other nihonga 5 In the the In ­-

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- . - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 and limited to promoting certain stories of Japanese nationhood? stories certain to promoting limited and at large art outside of contemporary functioning art “anachronistic” an essentially Is nihonga about death. its fantasies and fears fresh voking no category, doubt pro while nihonga of the functions prominence, and health, about the questions new raised success has international ­going accorded that nihonga to conventional outstripping far tion atten global to attract began category to the relationship or antagonistic myo (b. Makoto 1965), Aida Japan’s Ten economic massive downturn, of midst the 1990s, in when, the Japan until in found ready support (that is,nistic outtrends and concerns) of predominant step artistic with groups!” nihonga of the anachronism about“We’ve nihonga got to do something 1946, in declaring he recalls surface, picture to the added been had ( white abrade and shell wash, to mold, formaldehyde he as used even nihonga teaching and producing to Committed example. one (1916–2004) such was Takashi Yamazaki nihonga to be claiming still while modes dominant and nihonga tested works have deliberately certain period, every in exceptions; are there course Of to abstraction. occasionally world, and natural the Japanese of countryside, women, the depictions to decades later in way gives Meiji the period in matter subject torical his and Religious motion. in bodies or with depth spatial with concern little Thereis background. or unfigured ashallow against ber, enlarged num in few often are motifs The surface. to applied astiff and white 6 7 uya Hisashi (b. 1966), and several other artists with an ambivalent ambivalent an with (b. artists 1966), Hisashi ­uya other several and Discussion with Yamazaki Takashi], Kyo Takashi], Yamazaki with Discussion A Pan-Real: to Rekitei [From kiku” ni shi Takashi Yamazaki e: Panriaru kara “Rekitei McDonald, and Ming Tiampo (Leiden: Brill, 2013). Brill, (Leiden: Tiampo Ming and McDonald, 1931–1960 Empire, Its and War Japan in and Art see context, For further circumstances. and cultures other with comparison inviting while circumstances Japan’s to historical close stay to try Iwill modernism, artistic of ralities tempo global of adiscussion within comment Yamazaki’s positioning than rather Here, propaganda. as encouraged was nihonga tradition-based while examples), several offers (Yamazaki authorities wartime the by targeted been had styles modernist Japan’s case: in issue afurther is Yet there 5–22. 2013), Press, University Duke (Durham: History in Image The Time: Moxey, Visual Keith See universal. as treated he appeal and relevance whose modernism, Euro-American of trends main the avoiding for groups nihonga the disparaging was Yamazaki modernism, Western of time” the “outside or anachronistic being of nihonga accusing by modernism: artistic of temporalities global about questions broader war)—raises the during officials government by targeted been all had that ries (catego critique sociopolitical and abstraction, surrealism, collage, explore to reluctance nihonga about complaint 1946 Yamazaki’s painters whom Yamazaki called anachro called whom Yamazaki painters nihonga conservative The gofun – to shi bijutsukan nyu bijutsukan shi to ) and mineral pigments after they they after pigments mineral ) and ’s anakuronizumu— 6 ’s anachronism—and the the ’s anachronism—and , ed. Asato Ikeda, Aya Louisa Louisa Aya Ikeda, Asato , ed. – 152 (January 1988): 2. 1988): (January 152 su by which he meant the the meant he which by ’s boundaries ’s boundaries . The painter painter . The . Their on- . Their ­- 7

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29 foxwell | the painting of sadness? 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.

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32 artmargins 4:1 had been inherent in the moment the of founding. in its inherent been had of nihonga provoked specter however, also the they as a field apart from current painting in general. painting current from afield as apart nihonga to maintain damaging, even pointless, it was that suggested cally have periodi interlocutors display, and sale, certain of teaching, egory sincenihonga years one hundred roughly the In present day. the in existence of continued its terms the and parameters historical category’s nihonga considers the article this departments, separate, often two, under non-Western contemporary to acquire art United States continue the in museums many that aware yet product, 10 9 8 extinction.” ened . We threat art’s] of over [Japanese him. weep may what required is in pay, for no is only soul his . there careless . prompt . . caring amachine-laborer into him turning and Japanese artisan ancient the “as obliterating fast we are he argued, this,” all “But we have changed function. and of form unity” “aesthetic an made and for perfection, worked alone, strove Japanese artisan the that claimed Jarves Jackson Japan of Art the at A Glimpse 1876 book Japan. his In who were ruining Americans and Europeans the it was that perception self-centered the with loss along of cultural the predicaments West’s own but reflected Meijiin Japanese thinking, not originate did of Japanese death art notion of the romanticized The Tradi ink? and pigments mineral in experiments material by its defined ­category open-ended an emphasized, proponents its have as always it, is Or that of Western commentators like Jarves, complete with its urging to urging its complete with Jarves, of Western commentators like that it nihonga calling eventually 1880s, the in ing paint Japanese-style to support began Japanese government When the preservation. required techniques Japanese painting notion that the 8 20th century. It appears, for example, in Nakamura Fusetsu, “Nihonga metsubo “Nihonga Fusetsu, Nakamura in example, for It appears, century. 20th 1876), 145–46. 1876), Houghton, and York: Hurd (New Japan of Art the at AGlimpse Jarves, Jackson James ( genkon phrase The 67–89. 2013), Brill, (Leiden: Japan Century 20th- Early in Collectives Nihonga and Bakusen Tsuchida Circles: Painting Szostak, 20s. and 1910s the in Bakusen Tsuchida of study his in tensions similar highlights Szostak John [A Theory of Nihonga of Theory [A as a historical ahistorical as of consciousness nihonga from the Proceeding t ion and Segrega and ion 10 Foreign collectors and connoisseurs first introduced introduced first connoisseurs and collectors Foreign 現今 14, no. 11 (June 1911): 94. (June 11 no. 14, Hototogisu ’s Extinction], ), meaning current or contemporary, was common in the early early the in common was contemporary, or current ), meaning t , for instance, American art critic James critic art American , for instance, ion , its language resembled language , its ’s solidification as a cat as a ’s solidification ’s that dissolution 9 In so doing, so In doing, – ron” - - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 tions as partisan supporters of certain types of Japanese painting and and of Japanese painting types of certain supporters partisan as tions posi to conceal their interlocutors enabled term’s ambiguity built-in the broad as possible. Meanwhile, as of nihonga category the making in interest an had parties all definition, or discursive on avisual not agree defended by individual artists and artists’ groups. artists’ and artists individual by defended out and staked were aggressively spheres that demarcated of nebulously aseries premodern, and modern unrealized, and realized both bilities, possi infinite of Japanese painting’s all of Japanese painting—or all as did so, They agemoreover, when “ an in officials. art and artists but nihonga domination, of colonial structure the within or belatedness wardness worked to enforce back show how preservationism studies other and Said’s Edward Orientalism makers. its by aside fromWestern art set deliberately was of that non-Western category entire art of an examples oneoldest of the arguably is nihonga 1880s, the as early as painting noted, oil painting ( painting oil noted, 15 ing has recently fallen.” recently has ing paint country’s our which into decline of lamentable state “the rectify 11 11 geography that was Eurocentrically organized.” Eurocentrically was that geography to aglobal response and Japanese recognition “the called has Tamaki Winther- or what Bert painting,” “international an it designated others: being centered on ‘the West.’ centered on ‘the being whole world as to the perceived world, sincethe was West’ alluded Western oil painting. Western oil from newly modes accessible pictorial existing of distinguishing means 14 14 13 13 12 ( “present” the on articles in appeared it also as even earlier, and period Edo the from ing paint Japanese past to referring of capable became also nihonga word the 1905, Around Statement by the Minister of Agriculture and Commerce, in “Ronzetsu: To “Ronzetsu: in Commerce, and Agriculture of Minister the by Statement Kaiga so Kaiga Masters], the with AConversation War: the after Painting [Japanese danwa” no taika Chu began to be used, it was posited posited it was used, to be began wordSimilarly, when the nihonga from oil apart of painting class Japan aseparate as in Established Maximum Embodiment Maximum Winther-Tamaki, hakko Formation of the “ the of Formation “ Noriaki, Kitazawa 11. 2012), Press, Hawaii of University (Honolulu: 1955 1912– Japan, of Painting Western the Yoga, Embodiment: Maximum Winther-Tamaki, Bert 3. 1884), (October genzai – o – – Ko shui” [Lecture: The Significance of Founding To of Founding Significance The [Lecture: shui” ) and “future” ( “future” ) and – – 221 (September 1905), 3; and Kitazawa, “ Kitazawa, and 3; 1905), (September 221 shi ron Bijutsu Shuppan, 1991), 469–537. Shuppan, Bijutsu ron , through reference to such views, was set aside by Japanese aside by set was views, reference to such , through Nihonga ‘Nihonga’ gainen no keisei ni kansuru shiron” [An Essay on the the on Essay [An shiron” kansuru ni keisei no gainen ‘Nihonga’ yo – sho 13 ga Yet as historians of modern Japanese art have Japanese art of modern Yet historians as – 11 rai ) was not one medium or artistic idiom among idiom among or notartistic one) was medium Meiji nihonga shiryo nihonga Meiji in ” Concept], ) of “Japanese painting.” Anonymous, “Sengo no nihonga: Bo nihonga: no “Sengo Anonymous, painting.” “Japanese ) of

” 12 category was a was category nihonga the time, At the , 11. See also Sato also See , 11.

‘Nihonga’ gainen,” 473. gainen,” ‘Nihonga’ – yo – 14 – kaiga so kaiga ‘Nihon bijutsu’ tanjo bijutsu’ , ‘Nihon – 15 , ed. Aoki Shigeru (Tokyo: (Tokyo: Shigeru Aoki , ed. Though they could could they Though – shi ], To ], – yo – – kaiga so kaiga yo – kaiga so kaiga – , 87–88.

‘The ‘The – 1 shi - – - shi - - - –

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34 artmargins 4:1 17 17 of temporal progress, whose “home lies in the West.” the whose progress, in “homeof lies temporal today, stream removed from the term was of the understanding general to the Tradition, true modernism. center of international (Western) privileged the with engaged temporally to be remainder the leaving separated, and distinguished was production artistic contemporary of Japan’s when aportion formed was or “Japanese painting” tradition and other so-called tradition-based modern and contemporary contemporary and modern tradition-based so-called other and nihonga of to thehowever,authority, its apartness challenges deflected sistently con has modernism artistic Western-centered Because art. temporary of con category global from the later and art Western (international) become extinct.” and vigor lose its “gradually would 1911 nihonga in that (1866–1943) claimed Fusetsu Nakamura painter Japanese oil when as the of self-disparagement, to aform initially It Japan beyond. led complicated and in ways politically played out in has imposition, foreign adirect as understood therefore, be cannot, charm and value as a portion of “world painting.” aportion as value and charm its precisely, progress,” determined cannot this, and juvenile, nitely “ while that 1906stated in Japanese writer anonymous 18 16 16 nihonga/yo of the establishment the averted. successfully been had Japanese painting “traditional” of or extinction decline the that furthermore, one and, was painting of Japanese all that suggesting groups by artists’ different between hostilities To over actual smooth could word the audiences, nihonga of Japanese painting. to all applying as messages their to generalize by “a sense of impending doom”? “aby of impending sense together brought and of protection need in aform as arts ­traditional so-called other with together today, understood to exist continues category nihonga the that then, it mean, Whatdoes “progress” itself. outside discourse—hence, lay outside this nihonga on art, discourse international but fundamentally to join aWestern-centered struggling 19 Nakamura, “Nihonga metsubo “Nihonga Nakamura, Seiryu Visual Time Moxey, Visual was separated first from first separated was nihonga foregoing on trajectory, the Based and Japanese by actors created was demarcation this that fact The (Berkeley: University of California Press, 2003), 3. 2003), Press, California of University (Berkeley: Industry Traditional a Changing Work in and Family Kyoto: of Weavers Silk The Hareven, K. Tamara 1. 1906), (June If the category of traditional artistic knowledge emerged through through emerged knowledge artistic of traditional category the If – Yu – bi [a pseudonym], “Nihonga no ichi” [The Position of Nihonga of Position [The ichi” no “Nihonga [a pseudonym], bi , 11. – ron,” 95. 19 – binary, then it could be said that that said it be could then binary, ga 18 To who were many 17 16 Similarly, an Similarly, an is defi is nihonga Kaiga so Kaiga ], – 230 230 shi - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 24 24 23 22 21 contemporary art. contemporary tradition-based as have described curators museum some American contemporary art”? contemporary “tradition-based with associated are others while artists” temporary “con as come recognized to be individuals certain how itKee: is that Joan by once to aquestion leadposed back practices These regions. same other, works from contemporaneous the acquire institution same the within departments contemporary and modern the as even institution, of or an Islamic) African, Asian, (e.g., East departments regional of specific curators by acquired it to be and tends materials; ( historian Gennifer Weisenfeld notes; Gennifer historian art the difference,” as of commodification a“lucrative adjured; viewers demands,”some as late 19th-century Western aesthetic to] satisfy “[fail for position works that aholding expression; of cultural forms ishing arts has always been problematic. been always has arts 20 20 of Japanese painting into European style ( style European into of Japanese painting today, and bifurcation when the rethought; entirely toness be had Japan’sfollowing defeatWorld in War of Japanese- II, when images period postwar workcould to overcome immediate the Western bias; Japan that believed Japanese when thinkers many century, 20th of the part early the time: moments in three from roughly discourse written painting ( painting of it Western or to become amere international cause satellite might that pressures to the in avoid should giving nihonga that it implied ( times” the “behind and dull for being nihonga faulted Yearbook, 1947–51) Art (Japanese 1947–51 nenkan, bijutsu Nihon in Japanese chronicle anonymous of an Japan, for example, occupation American-led postwar the During but equal? separate the nihonga Weisenfeld, “Reinscribing Tradition in a Transnational Art World,” 372–74. Art aTransnational in Tradition “Reinscribing Weisenfeld, 89–94. 2010): 3(Fall no. 69, Journal Art Painting,” Ink Contemporary of Case Curious “The Kee, Joan Chicago. of University 2014, 6, September Beyond,” and Japan in Art of Concept the “Reconstructing symposium atthe delivered paper Like?,” Look Institute Art atthe Art Japanese Contemporary Does “What Katz, Janice 106. 1980), Shogakukan, 9(Tokyo: bijutsu no Nihon gendai Nihonga [Contemporary nihonga” no “Gendai Michiaki, Kawakita in Cited Visual Time Moxey, Visual is close to becoming a subset of what asubset Today, to becoming close is nihonga conventional I address these questions through an analysis of paintings and and of paintings analysis an through questions these I address ) remains, in Kitazawa Noriaki’s assessment, a remnant of aremnant assessment, Noriaki’s Kitazawa in ) remains, yo – ga ). 21 22 , 15. 23 This art can feature ink, bamboo, clay, bamboo, or other ink, feature can art This Does the latter term signify a safe space for asafe van signify term latter the Does 20 Where, in practice, do we encounter Where, practice, in 24 or all of the above? of the or all yo – ga ) and Japanese style Japanese) and style jisei ni okurete jisei Genshoku Genshoku ], ), even as ), as even - - 35 foxwell | the painting of sadness? 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36 artmargins 4:1 lishment oil painter Kishida Ryu Kishida painter oil lishment 28 28 27 26 26 25 [ to extinction close beauty distinctive its and decline, toward heading daily is painting “our country’s that ism, to Western Oriental- calibrated fear, closely the was Western painting Japanese from to distinguish Japanese impulse original the Behind Niho painting.” “Western from apart kept be “Japanese painting” that expectation the behind to lurk continues that Eurocentrism the toward resentment implies also Kitazawa’s statement everywhere, societies modern foundin ing long of cultural aform as described be can sadness of this part While of kanashimi astate as described what Kitazawa in results separation that intent, positive done is with art contemporary based of tradition- separation Even when development. the of artistic stream main the as construed commonly else form) from something art other (or any painting Japanese-style or segregating of separating act the is of my investigation heart world. At the modern of the “sadthe history” needed to be distinguished from Chinese styles. from Chinese distinguished to be needed Japanese Japan) painting Westin that gradually, the in and, (both tion percep 20th-century and early latethe 19th- on reflected polychromy nikawa with surface picture the to pigments mineral ground applying by achieved Colors were typically mitted in the studios of the Edo period (1600–1868) and earlier. and (1600–1868) period Edo of the studios the in mitted trans been had of goldthat use silver and the and handling, ink tion, of color older applica methods shading—and order in white to achieve with pigments of mineral blending heavy the as techniques—such new order in to master ateliers or private schools art in trained typically were painters nihonga of specialization, degree ahigh presumed ing to address modern audiences and to hang on the temporary walls of the of the walls temporary on the to hang and audiences modern to address adapted instead but was Japanese art, of earlier continuation not astrict Kitazawa Noriaki, “ Noriaki, Kitazawa Identity. National and Painting Japanese Weston, Tokyo, see 1890s in environment school art this of development the On 2015). Press, Chicago of (University Images for Search Iida Yuzuru, Speech to the Dragon Pond Society as recorded in “Ryu in recorded as Pond Society Dragon the to Speech Yuzuru, Iida 660–69. 2002): 4(December no. 84, Bulletin Art Method,” and Holly, “Mourning Ann Michael Dai Nihon bijutsu shinpo bijutsu Nihon Dai Record], Pond Society Making Modern Japanese-Style Painting: Kano Ho Kano Painting: Japanese-Style Modern Making Foxwell, see 1880s, the on the Nation: Taki Katei and the Challenges to Sinophile Culture in Meiji Japan n and N and ga eo-

‘Nihonga’ gainen,” 508. See also Rosina Buckland, Buckland, Rosina also See 508. gainen,” ‘Nihonga’ 25 Niho n ga , an animal-based glue. The emphasis emphasis The glue. animal-based , an – was was nihonga 1924, out in pointed sei – 2 (November 1883): 30. For more details details For more 1883): 30. 2(November zetsumetsu 28 Yet anti-estab the as ].” 26 Just as oil paint Just oil as – chikai kiji” [Dragon [Dragon kiji” chikai (Leiden: Brill, 2012). Painting Nature for for Nature Painting , or “sadness.” – gai and the the and gai 27

------Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 should be considered “a type of contemporary nihonga of contemporary considered be “ashould type he, too, that implies even and of essences Japanese art” classical “the nihonga contemporary are not are old of at today’s all.” nihonga styles and techniques “the he reflected, such, As hall. exhibition government 29 29 Tenmyouya 2001. to have in coined wrote: later claims nihonga nikawa ink, techniques. nihonga other and pigments mineral in training formal received ing hav without is, outside—that from the nihonga critique to visually ists art line of in a long onefirst of the arguably He was mastery. technical nihonga transgressing homely, and impoverished on intuitively the focused that vegetables misshapen and actors, kabuki folk, of country sketches ink own his 31 31 30 Kishida Ryu Kishida (Tokyo: Madora Shuppan, 2000). Shuppan, Madora (Tokyo: Superflat Takashi, Murakami See focus. in Tenmyouya from diverges he artist, anihonga as trained originally was Murakami though Even critical. and (flat), modernist Japanese, simultaneously as art own their for ogy teleol particular ethnically alternative, an construct artists way, both this In art. Japanese past of qualities to production current artist’s the connect to attempt also works Superflat Murakami’s of works the Tenmyouya, Like “Superflat.” of style and notion Murakami’s of diffusion American the of year the marks also 2001 2010). Shuppansha, Bijutsu (Tokyo: BASARA Hisashi, Tenmyouya in nihonga on thinking his elaborates Tenmyouya /biography/biography.html. http://www3.ocn.ne.jp/~tenmyoya 2004, 31, July modified last Hisashi, Tenmyouya “Neo- Hisashi, Tenmyouya While expressing some frustration with the limits of mainstream of mainstream limits the with some frustration expressing While nihonga I propose [neo- formal. and become stiff has ink, and nikawa, pigments, mineral nihonga [ nihonga I conceived of neo- using Today, necessarily without on comments nihonga work that Ryu ofessences Japanese art. classical the citing by nihonga of contemporary atype comprise to my intended works are level, athematic . On playfulness. and symbolism, decorativeness, sensibility, graphic astrong and outlining as such of Japanese elements art incorporating while acrylic as such materials new uses also pigments], to [mineral – sei zenshu sei , a term that Tenmyouya Hisashi, who works mainly in acrylic, acrylic, in Tenmyouya who that works mainly Hisashi, , aterm , and mineral pigments is sometimes known as neo- as known sometimes is pigments mineral , and . forced to adhere strictly to the materials of materials to the . forced strictly to adhere , which, – sei, “Watashi no nihonga ni tsuite” [About My Nihonga [About tsuite” ni nihonga no “Watashi sei, – vol. 3 (Tokyo: Iwanami Shoten, 1979), 415. 1979), Shoten, Iwanami 3(Tokyo: , vol. ’s unwritten codes of codes splendor,and ’s refinement, unwritten , Tenmyouya’s embrace of an reads as statement nihonga ] as a new genre that, without being limited limited being without that, genre anew ] as 30 ” (translation: Foxwell) from the artist’s webpage: webpage: artist’s the from Foxwell) ” (translation: ネオ日本画 29 ] as the antithesis of today’s antithesis the ] as Kishida began to produce began Kishida ” artist. Kishida Kishida in ] (1924), 31 The The - - - 37 foxwell | the painting of sadness? Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021

38 artmargins 4:1 ambiguity, moreover, characterizes the works’ stylistic existence at the at the existence works’ stylistic the moreover,ambiguity, characterizes so forth, but instead defer such judgments to the viewer. to the judgments such defer but instead so forth, and of women minors, and portrayals exploitative sexually nationalism, on militant stance no clear Tenmyouya, works take these with side. As out from the category nihonga the problematizing in engaged today are 33 32 neoconservative as such terms son with evokes compari neo-nihonga term the while imperialism, and tialism to essen longrelationship painting’s on Japanese-style pressure exerts tension resulting The of nationalism. (acceptable) varieties postwar and (taboo) wartime hover between that to themes style polychrome nihonga applying gold background, foil damaged slightly a against scale large in plane fighter model rigged inventively and rendered intricately an (2003) depicts Kamikaze ambiguous. remains on both position artist’s but the themes, nationalistic and styles painter’s notable most works reiterate nihonga 2009): http://modernartasia.com/?s=helverson (visited November 10, 2010). 10, November (visited http://modernartasia.com/?s=helverson 2009): 1(November Asia Art Modern Ai,” Yamaguchi and Kumi, Machida Fuyuko, Matsui Akira, in the Work of Six Neo Work Six of the in Seen as Gender of Composition The Gaze: Male/Female atthe “Gazing Helverson, Gwyn 638. 2000): 4(Fall no. 99, Quarterly Atlantic South Japan,” Millennial to “A Yoda, Tomiko peace.” Roadmap and rights, human democracy, of tenets official state’s postwar the def[ies] . [that] ric rheto- “boisterous chauvinism, cultural of assertions offensive broadly their for and day present the in militarily Japan defending of visions their for known are Japan in vatives neoconser the Japan, in peace for support widespread consistent, of context the Against In addition to Tenmyouya, Aida Makoto and several other artists artists other several to Tenmyouya,and Makoto addition In Aida Artists: Tenmyouya Hisashi, Aida Makoto, Yamaguchi Yamaguchi Makoto, Aida Hisashi, Tenmyouya Artists: -nihonga —or worse. —or ’s classic 20th-century ’s 20th-century classic 32 © TENMYOUYA Hisashi. Mizuma ArtGallery, Tokyo. courtesy oftheartistand 200 ∞272.4 cm.Image gold leaf,andwood, Kamikaze, 2003.Acrylic, Tenmyouya Hisashi. 33 ’s detailed ’s detailed That same same That - - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 “ ( ing” to the Western-dominated mainstream. Western-dominated to the ing” not and belong “belonging of tensions between context the in painting Japanese of (premodern) death the with engaged was tory, nihonga phenomenon. anew moment key his its At each hardly in is nihonga end(s) about the of fantasy and fear dual the that Iemphasize art. contemporary and from modern particularly of art—and kinds other from differed that to more have aims implied and broadly from art cordoned was off category nihonga category. Second, the nihonga the or outside inside of either to fall required Japan was in 1907, painting in began that (Bunten) ofExhibition Education Ministry the cially espe and schools, art exhibitions, government in First, of exclusion. legacy amultilayered created neutral, never was category, which of this emergence the yet end ofJapanese about “Japanese fear painting,” the would not otherwise be categorized as “contemporary art.” as categorized be not otherwise would nihonga sare Akira, Okumura Keisaburo Okumura Akira, works of Yamaguchi the in ambiguity to a similar referred provisionally Tomoyuki Mitsui curator Art), Contemporary and Nihonga Modern ( bijutsu gendai to nihonga Kindai bijutsu, vs. Nippon catalog and exhibition 2006 category. the In nihonga of the borderline 34 34 by UNESCO or other groups. or other UNESCO by of safeguarding” urgent need “in heritage cultural intangible as tered regis be even may some of which practices, cultural transmitted locally for employing recognized are artists globe, the Around spread concern. of is wide art contemporary of tradition-based forms other and nihonga of positioning of Japan, the case beyond the far persist divisions 36 36 35 nihonga nihonga-teki ” (evaluated as contemporary art), thereby implying that most most that implying thereby art), contemporary as ” (evaluated [ bijutsu gendai to nihonga Kindai bijutsu, vs. Nippon Tomoyuki, Mitsui category was born of acombined Western and born was category nihonga The index.php?lg=en&pg=00559. www.unesco.org/culture/ich/ Practices,” Safeguarding Best of Register and Heritage Cultural Intangible of “Lists UNESCO, alive.” them keep to measures urgent require consider Parties States and communities concerned that “elements for is list shorter The heritage. such for support and of awareness raising of purpose the for Humanity” of Heritage Cultural Intangible “The of lists two itmaintains that states UNESCO 49–60. 2005), Saqi, (London: Culture and Art Contemporary in Essays Critical Globalisation: and Belonging in Belonging,” Not and “Belonging Santos, dos Garcia Laymert 70. catalog, exhibition 2006), Bijutsukan, Kindai Shiritsu Osaka (Osaka: Art] Contemporary and Nihonga Modern -type contemporary art?), noting that such works were such that noting art?), contemporary -type ” ( nihonga- esque) were yet “ – , and others as “ as others , and 36 Yet such recognition, along with the the with along Yet recognition, such gendai bijutsu to shite hyo shite to bijutsu gendai nihonga-kei gendai bijutsu? gendai nihonga-kei 35 To the extent that such such that To extent the , ed. Kamal Boullata Boullata Kamal , ed. vs. Bijutsu vs. Nippon vs. Bijutsu vs. Nippon – ka ka 34 - - : ” : - - - 39 foxwell | the painting of sadness? Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021

40 artmargins 4:1 sive of tools Picasso’s blue period. on hemp Teruo Hada by raw expres pigments (1887–1945) the borrows Japanese and mineral leaf silver in a1918 while painting on cloth, oils in executed is and theme Edo-period embraces an Boat Asazuma The titled screen 1897 folding an horizons: institutional and linguistic our within do not fit they because precisely realized, visitor the ten, (The Avant-Garde of Avant-Garde Nihonga zen’ei no (The Nihonga 38 38 37 ends. and begins painting of Japanese-style category where the to query viewers challenged and expectations subverted No Border, whose called installations exhibition Tokyo anihonga organized Art of Contemporary Museum the 2006, In Niho of segregation? “sadthe histories” as describes what Kitazawa it or end does up sustaining inclusive, only more art contemporary help to make art for tradition-based support Does art. of contemporary category to the belong also not cannot and do artists such that sense to reinforce the threatens safeguarding, this support that institutions other and galleries, organizations, specialized and yo and nihonga conceptsof historical for same the the much did that Wanderings) in Art (Modern kindai Yuragu called exhibition atraveling organized artists in the 1930s but became difficult to get past past to get difficult 1930s the but in became artists nihonga young of permitted were cautiously that or collage—modes surrealism, abstraction, to explore unwillingness practitioners’ its and functions about concerns nihonga expressed (1919–72) Makoto Mikami and Yamazaki as such artists when emerging era, WWII Nihonga (Challenging nihonga ble and ultimately shaken by the 1945 defeat (154–55). defeat 1945 the by shaken ultimately and ble unsta itself was of Japan image prewar the because finally, and learn”; to ought mation] Furuta Ryu Furuta catalog. tion exhibi 2006), Bijutsukan, Gendai Tokyo-to Tokyo (Tokyo: Art Contemporary of Museum ed. “Nihonga”], to “Nihonga” From Border: e[No ‘nihonga’ kara ‘Nihonga’ Border: No ‘Nihon’ zo ‘Nihon’ of notion the to alludes likely [period]) ern mod unstable or (shaky kindai yuragu phrase The catalog. exhibition 2006), Bijutsukan, Kindai Tokyo Kokuritsu (Tokyo: Paintings] Western-Style and Japanese- the Between “Japan”) developed by Sato by developed “Japan”) defined in opposition to the international painting of yo painting international the to opposition in defined itwas because (89); explanation” no needed hence and them, to familiar and close posed; “presup was which that define to moved never people because shaky is concept nihonga n I ga, n – [Modern Art in Wanderings: In In Wanderings: in Art [Modern ni hazama no yoga to Nihonga kindai: , Yuragu – s ga ide and O and ide , showing a group of pre-WWI works that were forgot works that agroup of pre-WWI , showing – Do 37 – u shin ( shin The following year, curator Furuta Ryo Furuta year, curator following The t : 1950s–1970s), focused on the post- on: 1950s–1970s),the focused ‘Nihon bijutsu’ tanjo bijutsu’ ‘Nihon 38 Subsequent exhibitions, including including Subsequent exhibitions, – (unstable image of of image (unstable yuragi no – – , 154–56). Sato , 154–56). ga ) and Cho ) and , “which Japan [in its own esti own its [in Japan , “which ’s wartime ’s wartime – – sen suru suru sen argues that the the that argues –

------Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 achieving achieving a reunificationthewith arts the of Edoperiod and earlier. longed the sense of a tragic break tradition,with the impossibility of ever ied; but it was precisely (and ironically) its success in doing so prothat reception in order of art to preserve traditions the it presumably embod nihonga tions of pastthe were mostthe suitable embodiments of Japan. Finally, of it past, the painting provokedalso Asian contention over porwhich its relationship to respect East position in the with stantly of articulating has continued to overshadow it in subsequent eras. Because it was con- itloss Japanese named: fear of that thing And of very the painting. loss slowly fade away. or just disappear might of nihonga category the that suggest notions These Japanese style. or the Japanese painting of delimiting means nor true any Japanese painting, around no is boundary there idea that ( sways wobbles or that period amodern suggests kindai Yuragu imply: tions recent exhibi of these titles the as venture, ashaky always was tures fea stylistic it recognizable from its work of the separating anything, almost be could nihonga theory in Hence, although Japanese painting. of loss or about disappearance to the fears tied deeply was nihonga jurors and censors as the war deepened. war the as censors jurors and 40 40 39 Japanese- of “successful” discourse look and the role establishing in playedalarge century of the turn at the events Government-sponsored Niho identity and ethnic particularity. ethnic and identity of Japanese cultural stability the guaranteeing and nation-state the or of ends, visualizing functions, the it served so because did century 20th the prominence in greatest the achieved that nihonga traits. thematic and visual entrenched deeply and recognizable beyond certain limits the pushed has nihonga that suggesting and of underexposure works’ history about such questions of nihonga reminders are exhibitions Nihonga of Avant-Garde and Wanderings in Art Modern the works in of many Sato e,” 1–2. Panriaru kara “Rekitei Nihonga Let me advance two propositions related to this claim. First, the the First, claim. to this related propositions me two advance Let n – and N and ga yuragu was called on towas called adapt to conditionsmodern of displaythe and ‘Nihon bijutsu’ tanjo bijutsu’ , ‘Nihon was constituted byin agean offears of Orientalism the ) as our perceptions change, while No Border evinces the the No Border while evinces change, perceptions our ) as a t ionali – , 89–91. s m 40 Second, the process of defining process of defining Second, the 39 The unbeautiful intensity intensity unbeautiful The ’s true diversity, raising diversity, raising ’s true - - - - - 41 foxwell | the painting of sadness? Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021

42 artmargins 4:1 Manchuria. Japan, Korea, Taiwan, and in exhibitions 1907), colonial-era and ( Exhibition of Education Ministry annual juried the Asia-Pacific War. Asia-Pacific the during to and prior just years the in supervision to state subject were increasingly they and visibility, order in to gain or museums to rent halls public space in groups needed these went on, even time as yet schools; art and salons hegemony government the of the ing of counter aim the with together groups came 1900, private as early As power. in from those support secured who already had artists senior 42 42 tions ( tions exhibi of competitive and series a 1903, 1877 between times held five 41 41 matter. subject and color in application propriety tasteful and originality, to naturalism, commitments shared by certain unified entity conceivedbe asingle as to 18901910, and came nihonga between period the In painting. style Japan’s Domestic Industrial Exhibitions ( Exhibitions Japan’s Industrial Domestic with beginning patronage, of government tiers scored various by 60s, while the art market and gallery culture remained limited. remained culture gallery and market art the while 60s, 1950s the ofand in power positions in continued effort war to the so much who contributed had masters nihonga possibly sincethe war’s end— the after to nihonga return not fully did abstraction and surrealism, collage, with experimentation prewar recounts, Yamazaki as tandem: in developed functions or ideological sociopolitical and and and nihonga between ground to deny amiddle efforts Furthermore, 44 44 43 Dai gokai naikoku kangyo naikoku gokai Dai kangyo naikoku gokai Dai prize.” top very the receive to one no was . there submissions of tude multi the despite regrettably . and conceptions their into thought sufficient putting to devote to time the lacked they that commissions regular their with busy so were however, doyens, old great “The us, tells report A 1903 successful. financially also was Nihonga Meiji zenki sangyo zenki Meiji in reprinted Crafts], and Arts Fine 10: Section Exhibition, Industrial Domestic Fifth the to Submissions of Overview catalog, n.p. catalog, Meiji juries tended to combine government arts officials and officials to combine arts tended Meiji government juries Matazo Kayama Matazo Kayama Masaaki, e,” Ozaki 2; Panriaru kara “Rekitei 309–50. 2013), 2(Spring no. 21, tique cri asia War,” positions: Asia-Pacific the during Collectives Art of Formation The War: the of Service the in Collectives Art “New Kaneko, Maki e,” 1–2; Panriaru kara “Rekitei shiryo kyo – – , ed. Fujiwara Masato, vol. 8 (Tokyo: Meiji Bunken Shiryo Bunken Meiji 8(Tokyo: vol. Masato, Fujiwara , ed. – shinkai – hakurankai shuppin shinsa gaikyo shinsa shuppin hakurankai (Tokyo: Nihon Keizai Shinbunsha, 2009), exhibition exhibition 2009), Shinbunsha, Keizai Nihon (Tokyo: 1927–2004 Retrospective, 42 ) for Japanese-style painting held during in the 1880s, 1880s, the in held during painting ) for Japanese-style 43 In this way, this nihonga In 41 These commitments were shaped and under and were shaped commitments These – hakurankai , 127. – daiju – ’s growing stylistic consistency consistency stylistic ’s growing bu: Bijutsu oyobi bijutsu ko bijutsu oyobi Bijutsu bu: – hattatsushi shiryo hattatsushi Naikoku kangyo Naikoku – ni tsuite/Kayama tsuite/Kayama ni – Kanko Bunten – : Kangyo – – hakurankai Kai, 1959), 127. Kai, – [Inspectors’ [Inspectors’ gei , begun in in , begun – hakurankai hakurankai 44

- - ) - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 48 48 ically suspect nihonga suspect ically ideolog modern, as saw them post-1945 critics Korean traditional, fully respect to be were supposed images tongyanghwa polychrome though tongyanghwa (Korean: painting” Asian ofnent “East subset apromi colonies became upon and the imposed to and exported was ding an artist from submitting to both categories simultaneously. categories to both from submitting artist an ding forbid rules with submission categories, exclusive mutually as lished those that foregrounded polychromy rather than ink. than rather polychromy foregrounded that those especially models, painting of newly use Chinese prominent made also nihonga imperial styles, Maruyama and Japanese Kano 19th-century to from ablend18th- of the originating as style nihonga 20th-century describe often today’s Japanese scholars While trend. this strengthened nized as iconic as of nihonga nized recog everyone (618–906)—that China from Tang dynasty came nally that origi approach background—an silk unfigured an women against outlined carefully elegant, of the style forwere secondary, the it was yo 47 47 46 45 Education Exhibition ( Exhibition Education – had a long history: with the inception of the annual Ministry of Ministry annual of the inception the with alonghistory: had ga or to or nihonga The 49–50. 2013), Press, Minnesota of University (Minneapolis: Method of Urgency the and Tansaekhwa Art: Korean Contemporary Kee, Joan see Society, Forest Ink the around and in tongyanghwa of mode polychrome the and nihonga to objections postwar For related Eunho. Kim regarding suggestions and help their for Lee Seunghye and Lin Nancy Ithank 35–67. Ch’ulp’anbu), Yo Ihwa (Seoul: Art] Japanese and Korean Contemporary and Modern al. (Fukuoka: Fukuoka Ajia Bijutsukan, 2014), 116–21. 2014), Bijutsukan, Ajia Fukuoka (Fukuoka: al. et Rawanchaikul Toshiko ed. Competitions], Art Asian East in &Other Self of Images Modernity: the Toward as given title [translated bijutsu kindai miru ni Kanten in Style], of Duality the and Munhwasa, 1978), 11–43; and Kwon Heang-ga, “Kim U “Kim Kwon Heang-ga, and 11–43; 1978), Munhwasa, Korean Art] (Seoul: Sigongsa, 2002), 170–72; Yi Ku-yo Yi 170–72; 2002), Sigongsa, (Seoul: Art] Korean U Kim painter. amajor as status his despite Eunho Kim exclude to tended institutions art Korean postwar patrons, Japanese for work his of because and perception, this of basis the On 688–713. 2005): 87, 4(December no. Bulletin Art Museum,” British the in “ McCausland, Shane kindai Yuragu Furuta, See The intensification of Japan’s imperial involvement in Asia only involvementof Asia only Japan’sin intensification imperial The Shokuminchi gaka ni okeru sakufu okeru ni gaka Shokuminchi Taiten: to “Teiten Yen Chuang-ying, Peony, 1993), 45–58; Wild (Sydney: Clark John Art Asian East in Modernity in 1930’s Taiwan,” the in in Movement Art “The Yen Chuang-ying, See legacy. and history reception adifferent with though exchange, Misul sok u sok Misul in Women], of Images Idealized of Consumption and Production The Eunho: Kim by Hyang Han’guk-cho ˘ k yo ˘ [A Close View of of View Close [A cholbogi misul Hanguk Gyu-il, Yi by interviewed n-ho ˘ – so yo ˘ – ng imiji u imiji ng style also developed in Taiwan under colonial rule and artistic artistic and rule colonial under Taiwan in developed also style ga Gu Kaizhi Gu Meets Nihonga ˘ . i yo Bunten 47 ˘ The materials of ink and mineral pigments pigments mineral and of ink materials The . so ˘ ˘ ng: Han’guk kwa ilbon u ilbon kwa Han’guk ng: . i saengsan kwa sobi kwa” [Reading the Image of Chun Chun of Image the [Reading kwa” sobi kwa i saengsan 48 Thus, even though the Japanese-trained Japanese-trained the though even Thus, ) in 1907, yo and ) in nihonga – no nimensei” [ nimensei” no : A Japanese Copy of a Chinese Painting Painting aChinese of Copy : AJapanese ˘ and Taiten and Teiten i ku ˘ ˘ ˘ Idang Kim U Kim Idang l, n-ho u n-ho nhyo ˘ [Women in Art: Art: in [Women misul ndae ˘ i Ch’unhyang-sang’ ilkki: ilkki: i Ch’unhyang-sang’ 46 – werega estab The new blend new The ˘ : Colonial Painters Painters : Colonial ˘ (Seoul: Kukche Kukche (Seoul: n-ho ja Taehakkyo Taehakkyo ja ). But even , ed. , ed. 45 ------43 foxwell | the painting of sadness? Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021

44 artmargins 4:1 51 51 50 the times and have fallen into a dark, directionless state.” directionless adark, into have fallen and times the behind groups are nihonga traditional the . Bycontrast, [plentiful]. case of Kayama Matazo of Kayama case the cites Yiengpruksawan Hall Mimi historian Art assertions. political explicitly avoiding while messages send positive could that amanner in past Japan’s re-presenting artistic who with were concerned painters of generation anew nihonga to form a “nation of culture”—helped to forge attempt Japan’s of the as identity contemporary sures—part of Japan’s trea exhibitions of celebratory art ancient steady stream yo . the and off, cast been has Japan-centrism wartime Yearbook read: “The Art Japanese 1947–51 The nihonga of “traditional category entire the behind of one assumptions set basic to lift, began of war exhaustion the as Still, Japanese of art. past study careful the by guided posedly sup and techniques and materials by constituted was nihonga because To idea went far, too that most, imperialist? even retrograde, inherently collage, and material abundance. material and collage, flatness, in interest to acontemporary to speak Japanese art premodern so, he doing In curated covered them. originally that writing the from isolation in them cited but Kayama Japanese poetry, classical (Ishiyamagire) Fragments Ishiyama Today the reassembled as and papers. torn known fully of made art sheets poem of 12th-century aset scale, large in remake, and 16th-century 16th-century and Fragments Ishiyama the references both Seasons 49 world. art Korean postliberation the to 1920s 1930s and proximate nihonga thematically and works were visually his of beauties, Korean ­depiction to the (1892–1979) himself devoted Eunho Kim painter Korean 25, no. 1 (Winter 1999): 162–63 and 166. and 162–63 1999): 1(Winter no. 25, Studies Japanese of Journal 1868–1968 Painting, Japanese-Style Past: the Transcending Nihonga, of “Review Yiengpruksawan, Hall Mimi 103–4. 1980), Shogakukan, 9(Tokyo: bijutsu no Nihon gendai Nihonga [Contemporary nihonga” no “Gendai Michiaki, Kawakita in Cited “ McCausland, and 564; 5(2011): no. 25, Text Third Calculus,” as “Contemporaneity Kee, Joan also See 223–48. 2009): (December 29 nondan Misulsa 1940s], and 1930s the u hwap’ung nyo “1930–1940 Mingi, Kang While a certain type of Japan-centrism was avoided, however, was a of Japan-centrism type acertain While nihonga problems was arose: similar Japan, meanwhile, postwar In Gu Kaizhi Gu Meets Nihonga ˘ i cho ˘ Trend in Modern Korean Art during during Art Korean Modern Trend in Nihonga [The n’gae suyong” wa , by Ellen P. Conant, Stephen Owyoung, and J. Thomas Rimer,” Rimer,” Thomas J. and Owyoung, Stephen P. Conant, Ellen , by – , who in the 1990s produced several works that works that 1990s produced several the , who in ,” 688–713. , the 12th-century papers were a surface for were asurface papers 12th-century , the ˘ ndae han’guk tongyang hwaga u hwaga tongyang han’guk ndae – groups are especially vigorous and and vigorous especially groups are ga 51 Kayama’s Four and Sun, Moon, 49 , making them problematic in problematic in them , making ” seems to have dissolved. to have dissolved. ” seems ˘ i ilbon hwap’ung: Ilbon Ilbon hwap’ung: i ilbon 50 Genshoku Genshoku in ], - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 54 54 rise to moonrise. rise day, a single from sun- in passing seasons four of the Japanese screens 52 52 cropped at the branches, a technique that refers to 16th- and is tree temple the ancient Daigoji, from the tree cherry weeping famous into a folding screen.” afolding into adecorated paper made out when he left Kayama that script calligraphic replaced the has what text about carefully “think by Okumura Togyu Okumura by of Daigo case the in seen is “Japanese style.” This recognizable globally a solidified and ends that aof controlled was result meanings range The more. even recent past own to its attended but it arguably painting, war. the following decades for several business in nihonga to have kept seem that Japanese nationalism of texts invisible the reference here to The is it?” or merely annex past, the Ishiyamagire copy of the a virtual “does [Kayama’s] painting, she and asks, priation,” appro “stark works are such Yiengpruksawan, 53 53 53 Yiengpruksawan, “Review of Nihonga of “Review Yiengpruksawan, On sun and moon screens, see Michele Bambling, “The Kongo “The Bambling, Michele see screens, moon and sun On Kayama Matazo Kayama See era. wartime the of self-sacrifice and depravity the overcome to adesire by 1960s the in vated moti been had screens, Rinpa and yamato-e polychrome to papers writing Heian from art, Japanese of forms lavish materially most the of some in interest his that asserted Nihonga of “Review Yiengpruksawan, 70–82. 1996), 27, 8(September no. Orientations Screens,” Moon’ and ‘Sun Yamato-e of Tradition the was attentive to past Japanese to past attentive was nihonga century, 20th the Across She cautions us to She us cautions , ‘transcend’ , ‘transcend’ 52 For – . In this painting in ink and mineral pigments of a pigments mineral and ink in painting this . In 54 – ­ (Tokyo: Nihon Keizai Shinbunsha, 2009). Shinbunsha, Keizai Nihon (Tokyo: ten

Okumura Togyu Painted inmemoryofKobayashiKokei.Yamatane MuseumofArt,Tokyo. ,” 166. ,” 162 and 166. For his part, however, Kayama Kayama however, part, For his 166. ,” 162 and – . Daigo,1972.Inkandcoloronpaper, framed,135.8∞115.8cm. – -ji Screens: Illuminating Illuminating Screens: -ji 17th-century ­17th-century -

45 foxwell | the painting of sadness? Kobayashi Kokei. Gokuraku i (Well of Paradise), 1912. Ink and colors on silk, hanging scroll, 193.5 ∞ 100.8 cm. Museum of Modern Art, Tokyo.

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 the association between premodern Japanese aesthetics and modernist modernist and Japanese aesthetics premodern between association the using by messages conservative politically distributed works that war post and prewar emperor.” the live to satirize appears “Long Minimaru out spell that characters to form man’s surface foil on the blood”rests “young as identifies artist the that Amedium doors. offoil sliding silver tarnished, bruised, the against gate stands shrine aShinto time, of space or markers without surface on apicture agenda: nationalist how nihonga demonstrates series, Returns of Aida’s 1999), War part Pictures (Minimal, Minimaru of nihonga awareness order critical in to arouse style nihonga the appropriated at but he times has artist, not anihonga is Makoto Aida strategies. rhetorical its unveiling by nihonga to critique first were the critics, than rather painters, that it unsurprising is then year. after regenerate year they as even of time passage the loss and with associated poetically are which themselves, trees of the ­imagery fleeting and timeless simultaneously the and Emperor Go-Daigo, of ambitions political grand of the evocation its blossom viewing, ­ cherry- of history for long its significant also of is Daigoji location temple The calm. and stillness encourages colors, or gestures forms, of jarring lack the and unmarked, is time’s passage onewhich in ing, paint the with toacontemplative enterinto interaction viewers cause movement of abrupt to lack and colors, pale suppressed outlines, plane, ground space, abbreviated shallow axis, avertical use Well Paradise of and Daigo both or space. Stylistically, time without is that beholding Daigo in unaccompanied to reappear work famous seems of that tree The spring. miraculous from a water draw they as tree cherry ablossoming under costume cal Kokei’s women histori in young of Well1912 Paradise of famous depicts teacher. Kokei, his of Kobayashi service memorial for Daigoji the ing such as Van as Gogh. such Japanese art, in interest an with painters European late 19th-century ­ but also, Japanese paintings, 55 Spring Through the Trees the Through Spring Monet’s Concerning Akiko Mabuchi, “ Mabuchi, Akiko 87–104. [Japonisme If the foregoing works proffer visual ideologies of ideologies Japaneseness, foregoing works visual proffer the If Représentations et Imaginaires des Européens] (Tokyo: Brucke, 1997), 1997), Brucke, (Tokyo: Européens] des Imaginaires et : Représentations A travers 55 Okumura reportedly made the image after visit- after image the made reportedly Okumura o megutte” [ omegutte” haru no goshi ma no Ko no —Mone , where the viewer is absorbed in an act of act an in absorbed is viewer , where the ’s sleek, modernist surfaces facilitated a facilitated surfaces ’s modernist sleek, perhaps, to the compositional strategies of strategies compositional to the perhaps, Japonisumu: Genso Japonisumu: Mabuchi, in ], ’s ideological workings. ’s workings. ideological A travers: – Nihon no - - - 47 foxwell | the painting of sadness? Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021

48 artmargins 4:1 of theartistandMizumaArtGallery, Tokyo. ©AidaMakoto. silver paper, polishingpowder, andblood;171∞268 cm. Imagecourtesy Aida Makoto.Minimaru(Minimal),1999.Four-panel slidingscreens, unexpected images of female bodies in O in bodies of female images unexpected the war years. war the of Japaneseness during expressions religious and political, aesthetic, of conflation the inspired that praise criteria, modernist satisfy urally 56 56 Japanese Shinto premodern that ers Taut Bruno oth and (1880–1938) architect modernist the by assertions to refers background aflat gate against shrine of the depiction imalist min The of aJapanese body man. the by “Japaneseness” determined is its artist, of man’s the that “young blood,” in perchance painted nihonga as medium Japanese” painterly “distinctly of the fetishization the literalizes also Aida as blood. the pigment red of label’s or the identification example, for backdrop, silver condition of the marred the war: foris or against work the to consider us whether ask traits visual subtle Only image. ist more ultranational or an less, as to function, ability the has it still that is about Aida’s painting Yet principles. disturbing whatmost is design 25, no. 4 (Fall 2009): 13–28. 2009): 4(Fall no. 25, Issues Design Method,” as Modernism Japan: 1930s in Propaganda and “Publicity Weisenfeld, Gennifer See The same ambiguity of motives is apparent in Aida’s eroticized yet yet Aida’s apparent is in of motives eroticized ambiguity same The 56 ’s defining factor: since the work claims to be to theclaims work since factor: ’s defining – shrines and other architecture nat architecture other and shrines – sansho – (Giant Salamander, (Giant Salamander, uo - - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 57 57 salamander. less approachable,but much giant Japanese, equally the with of Japanese excellence symbols delicate these has replaced Aida of flowers. Japanese and birds depictions careful in and beauty feminine were in once grounded which functions, logical nihonga to satirize it seems such, As Japanese landscape. the in of women reclining images nihonga prewar evokes eroticized visually pigments, of nihonga instead acrylic composed with image, Aida’s background, the in phallically echoing symbol cum-national amphibian- mud-dwelling the world’s 1870s. With to the the in fairs to send enough extraordinary and rare aspecies and nous amphibians japonicus (Andrias salamander agiant against women lounging young two depicts painting large-scale 2003). This Aida Makoto.O Image courtesyoftheartistandMizumaArtGallery, Tokyo. ©AidaMakoto. Yusuke Tamari (San Francisco: New People Entertainment, 2003). Entertainment, People New Francisco: (San Tamari Yusuke Playground the in Cynic Aida: Makoto documentary the in himself this edges acknowl Aida 2007). sha, Gurafikku (Tokyo: Nothing for Monument Makoto, Aida See – sansho – uo (GiantSalamander),2003.Acryliconwoodpanel,314∞420cm. ), one of Japan’s indige 57 ’s ideo earlier , directed by by , directed - - - 49 foxwell | the painting of sadness? Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021

50 artmargins 4:1 Shunso In response, frompainting. Japanese it earlier distanced definitively of space had treatment and draftsmanship its felt that conservatives “not nihonga was painting this that declared faction conservative rival the example, for 1909, in exhibition of Education second at Ministry the Leaves 58 58 Shunso When Hishida of nihonga to have provoked specter itgeneration seems the every in curiously, and, late Meiji sincethe generation period, every confrontedalmost by been has question This apossibility? be ever progressive nihonga how can then style, reiteration of arecognizable the category. Yet ongoing an nihonga if as cohesiveness the of “Japanese painting” signal all motifs of pictorial number of the restriction the and momentlessness of the of beholding, limit movement, and the of depth de-emphasis the surfaces, metallic or white colors pale combined with acategory: as recognizable nihonga make elements thematic and stylistic, visual, above, shared cases the In D Japanese hands.” produced by and conceived are Japanese minds in both that extent the nihonga called be together will making, we are that nihonga the and watercolor painting that are currently called yo called currently are that watercolor painting and oil the both painting, come when all will away, day the but Ibelieve of nihonga predictions several of first the to utter he proceeded else, or anything Western painting, painting, Japanese called was painting his if not he care did that Declaring time. 59 metsubo nihonga as known oneby “endlessly account, what debated” became in fade out would of existence. earlier and period Edo the in it as been had Japanese painting caveat that Orientalist Western, originally the against: guarding been had what they scored precisely it under because for others, terrifying it was viewers, and painters i ss Hishida Shunso Hishida Reita, “Nihonga metsubo “Nihonga Reita, Hirase see overview, For abrief 103. 1980), Shogakukan, (Tokyo: Michiaki Kawakita ed. 9, vol. bijutsu no Nihon gendai Genshoku nihonga: no Gendai Michiaki, Kawakita Meiji nihonga shiryo nihonga Meiji Aoki, in Reproduced 1910. 8, March 2: Part 1910. (Tokyo Bijutsu: 2014), 498. 2014), Bijutsu: (Tokyo shi gendai In the years following World following War years the In II, nihonga olving Niho olving – – published his comments in several major news outlets of the of the major outlets news several in comments his published ron extinction (or elimination) thesis. (or elimination) extinction nihonga , or the ”: despite its use of Japanese materials and format, the the format, and ”: of Japanese despite use its materials – Jiji shinpo Jiji Words Painting], on [Idle mangen” , “Gakai 58 While this notion was liberating for some Japanese liberating notion was this While n ga – – (1874–1911) Fallen for won his recognition Bijutsu no Nihon kin kin Nihon no Bijutsu in Debates], Extinction Nihonga ron” [The ’s continued existence is bound to bound is ’s existence continued ’s dissolution: “it may not be right ’s “it right not may dissolution: be – (Western painting) painting) (Western ga ’s right to exist was, was, ’s to exist right – – , 281. . Part 1: March 7, March 1: . Part ’s demise. 59

- , to - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 in Tokyo.in Western Japan in and exponents had which society, Rekitei of the ber mem 1930s, afounding sincethe when he been trends had art global of exploration the in partners to become full artists nihonga urging been similarly had Takashi Yamazaki Kyoto1940s, artist the nihonga those from before the war.” from before the those as bit good as every are culture and about how Japanese art thoughts ineffectual into to sink . We works. and ourselves not must allow actions own our critique unstintingly must and uncritical, of the side on the far too erred which for art, past feelings suppressmust our “[W]e he and urged: development, to social impediment an was ture ceived Yamazaki’s allegations of anachronism as a partisan espousal espousal apartisan as of anachronism ceived Yamazaki’s allegations per they while mere as copies of them Western art, scorned viewers however, Japanese such, some local As works. abstract and tational represen borders between the and of forms, indeterminacy and bility and nihonga and haiku like forms tional tradi so-called by perpetuated self-consciousness” intellectual and as sawof social Japan’slack “a Kuwabara, deficiency like Ogawa, main bombs, tofirst-rate develop were equipped Japanese scientists dent that arts” ( arts” of “secondary status to the restricted be should and relevance of limited were nihonga and haiku both that argued Takeo (1904–88) Kuwabara scholar 1946, In French-literature time. siege at under the was that art Nihonga 61 60 pressed” “sup to be needed that something powerful, extremely is forms to such attachment that acknowledged also both yet society; critical self- development of aself-conscious, overall to the were impediments forms embrace of the traditional and Japanese for past the longing that 65 64 63 arts might have been one of the factors in Japan’s in onefactors of the have been defeat. might arts “self-satisfied” and Japan’s that Takei alleged (1906–45) “uncritical” 62 As one voicing frustration with nihonga with frustration one voicing As Ogawa Takei, “Kenko Takei, Ogawa 1946): 55–61. 7, (November 11 no. Sekai Haiku], Contemporary On Art: Secondary [A tsuite” ni haiku Gendai geijutsu: ni “Dai Takeo, Kuwabara “Yamazaki ni kiku,” 1–2. kiku,” ni “Yamazaki Ibid. “Kenko Ogawa, Ogawa, “Kenko Ogawa, 1945): 25. (November 11 Bijutsu Era], Postwar the World in Art dai ni geijutsu dai , it should be pointed out, was not the only traditional Japanese traditional only not the was out, pointed , it be should 64 65 or set aside only with self-resignation. with aside only or set The Rekitei works tended to explore surrealism, the muta the surrealism, to explore works tended Rekitei The – – na jiko hihan,” 25. hihan,” jiko na 55. geijutsu,” ni “Dai Kuwabara, 25; hihan,” jiko na ). – na jiko hihan: Sengo no bijutsukai” [Healthy Self-Criticism: The The Self-Criticism: [Healthy bijutsukai” no Sengo hihan: jiko na 60 Even earlier, in November 1945, critic Ogawa Ogawa November Even earlier, 1945, in critic 63 Kuwabara and Ogawa seemed to agree to agree seemed Ogawa and Kuwabara . 62 In Ogawa’s In cul view, traditional ’s the in “anachronism” 61 Fully confi Fully - - - - ­ - - - 51 foxwell | the painting of sadness? of Western trends—that is, as if implying that anything non-Western must necessarily be behind the times. Yamazaki’s works from the 1940s explore this tension, implicitly asking whether the creation of a self-critical, materially experimental, and globally attuned nihonga must necessarily subvert the nihonga ­category altogether. His muted, ideologically ambiguous Landscape (Impression of a Battlefield) (1940) used techniques that were inventive, even iconoclastic, but also incorporated features that were found in even the most orthodox nihonga: the folding screen format, the gleam of mineral pigments, and the sense of a boundless, temporally unmarked field of vision. On closer inspection, gray, green, yellow, brown, white, and black pigments mingle in an order and process that is difficult to discern but shows evidence of scratching, abrasion, and other forms of obliteration. The lowest part of the composition is domi- nated by granular red-brown pigment in repetitive, horizontal applica- tions of receding size; evoking blood-tinged earth, these shapes invite possible readings of corpses barely visible in a blurred and defective field of vision. One of the work’s most notable features is its manner of combin- ing abstraction with an unexpectedly acute grasp of perspectival reces- sion: by obliterating brushstrokes and modifying the range and density

Yamazaki Takashi. Fu–kei (Senchi no insho–) (Landscape [Impression of a Battlefield]), 1940. Mineral pigments and gofun on paper, folding screen, 167.5 ∞ 368.0 cm. National Museum of Modern Art, Kyoto.

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54 artmargins 4:1 founded under the premise of war.” premise the under founded been had that societies art of the disbanding “the or sought era war of “extinction.” threats postwar immediate 71 71 70 of and society” associations art of the nature “feudal the abandonment of an demanded when they seeking been had postwar immediate the in critics art or other artists, Pan-Real the Yamazaki, outcome from the that far was approval, their met that nihonga the of support financial bubble-era the coupled with students, to their masters of generation prewar of from the handover power smooth The 1980s. economic of the boom the during sponsors domestic individual and of corporate robust support 1970s the into and the 1950s the through in of trial it as from aperiod emerged nihonga took this art as the foundation of “peaceful [undissenting?] society.” [undissenting?] of “peaceful foundation the as art took this Takei late 1945; Ogawa as in condemned had moreover,such Nitten the critics liberal that art “self-satisfied” and “uncritical” the precisely tured fea exhibition Nitten the as privatized became that salon government malleable symbols of Japan until his death in 1968. in death his of Japan until symbols malleable these producing continued and years wartime and prewar the in tain Yokoyama of Mt. Fuji produced moun had copious asacred images as 76 76 74 war old guard, such as Yokoyama Taikan and Wada Eisaku, as jurors. as Yokoyama as Wada and such Eisaku, Taikan old guard, war pre of members the to reinstate opportunity took the fact in ministry theJapan,” peaceful a in constructing step first the is culture and of art stimulation “the that of 1946. Claiming fall the in exhibition art juried annual the re-established swiftly of Education Ministry The reading. 72 72 73 73 75 75 See Nagoya-shi Bijutsukan, ed., Cho ed., Bijutsukan, Nagoya-shi See (1957). Winter and 1950s and 1940s late the from series animal his include efforts such of results The war. the before active been had who artists senior to respect with position own his negotiating artist independent an as off started himself Kayama period, postwar immediate the In Ogawa, “Kenko Ogawa, Tokyo. Art, Modern of Museum May, 1949. dated Pamphlet Manifesto]. [Pan-Real Ogawa Takei, “Kenko Takei, Ogawa 29–34. 1994): (July 1184 Kokka Eigaku], Kano by “Monbusho 2014). Nihonga [Challenging Fugaku to Fugaku hitsu Eigaku “Kano Yoshiya, Yamamoto 1945): 26. (November 11 Bijutsu Exhibition], To some, this postwar trajectory represents nihonga represents trajectory To postwar some, this Panriaru Bijutsu Kyo Bijutsu Panriaru 1945): 25. (November 11 Bijutsu Era], Postwar the World in Art – Bijutsu Tenrankai no kaisai” [The Opening of the Ministry of Education Art Art Education of Ministry the of Opening [The kaisai” no Tenrankai Bijutsu – ,” 25. – – sengen Panriaru al.], et Takashi, Yamazaki Makoto, [Mikami kai na jiko hihan: Sengo no bijutsukai” [Healthy Self-Criticism: The The Self-Criticism: [Healthy bijutsukai” no Sengo hihan: jiko na : The Artists of the 1950s–1970s] (Nagoya: Nagoya-shi Bijutsukan, Bijutsukan, Nagoya-shi (Nagoya: 1950s–1970s] the of Artists : The – gakatachi no dai 1950–1970 nihonga: suru sen 76 On a visual and material level, level, material and avisual On – ryu 71 – Yet this is not the only only not is Yet the this zu ” [ Dragon Ascending with Fuji Mt. 70 73 Thus, the former former the Thus, ’s over triumph 75 of the pre- of the 74

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 need of the yo of the need have thatno would painting Japanese modern of aunified dream the 79 79 78 Institute entitled “The Painting of ( Sadness” Painting “The entitled Institute Japan Art to the 1999 his speech In general? in art contemporary from apart to continue exist nihonga called category aseparate does painting of sadness.” painting the as Japanese represents modernity: that painting the time—as for one last once again—or shine nihonga you to make encourage Iwould then nostalgia, you If in do not approve of basking changes. vast to undergo continues “Japanese society itself: within era modern of the longing and tragedy the subsumes that anihonga is presents with the material-based and de-nationalized ko de-nationalized and material-based the with he as endeavored even word to replace astyle, the as nihonga nihonga nihonga as recognizable be still and nihonga from past diverge a work can to which degree of the question Yamazaki’sthe workmeanwhile, raised 77 77 Shunso after years one hundred More than L gic ( gic devolves a[merely] into when nihonga day nostal the but Idoout; think not die will nihonga to say that fair it seems Japan to exist, continues of country “For the long as as around: stick will nihonga readers that art). nikawa painting amounts to a failure. Yet Shunso he, toas afailure. like even amounts painting Japanese of rest contemporary from the apart to exist continues nihonga that fact hethe implies, sense, become, whole.once this In again once, was could and Japanese painting of modern body the wherein state ideal to an alludes and “Japanese”into modes “Western” and cated forcibly as bifur Japanese painting modern portrays Noriaki Kitazawa has meaning, he sug meaning, has nihonga that context It this it. in created is that conditions social and academic late-19th-century of the echo mournful it a as is past ancient of the Japanese painting of the extension ous o and t and ss nostarujikku Ibid. 80. kaiga,” no “Kanashimi Kitazawa, Panriaru Bijutsu Kyo Bijutsu Panriaru category is not so much aglori not is so much category nihonga the that implies Kitazawa . His work retains the look and temporally unbounded feel of feel unbounded temporally look and the work. His retains 77 he Niho he – dichotomy, he also finds himself reassuring reassuring himself dichotomy,ga/nihonga finds he also ) form of painting is not far away.” not is far of painting ) form – Panriaru sengen Panriaru kai, 79 n S ga t yle . – predicted its demise, why demise, its predicted Kanashimi no kaiga no Kanashimi – (pigment and and (pigment geijutsu sai 78 The solution he The – , alludes to , alludes ), - - - - 55 foxwell | the painting of sadness? Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021

56 artmargins 4:1 Kumi (b. 1970)Kumi or nihonga Yoshida (b. Yuki 1971) fact, in are, compositions or notof Machida the whether it mattering stops exists, still nihonga that viewers to reassure stop trying and aesthetic ­painting move Japanese away from arecognizable paintings moment their border. invisible At an the crossed have indeed Border exhibition phenomenon. arecognizable as life its extends category, Togyu nihonga the Kokei, establish who helped to tribute By paying public. academy, viewing the art and the hall, exhibition of the context modern to the Japanese painting premodern of adapting ways teacher’s particular his transmits Kokei, but it also Kobayashi teacher of his memorial seventh commemoratesDaigoji the 80 80 of a basis on the handscrolls, Tale picture Genji of 12th-century the from images recreated artists nihonga case, one In famous relevant. to remain form art the who wish supporters and artists of nihonga efforts to the central are masterpieces of ancient remaking and vation, Togyu Okumura For example, gesture. and of act level on the past the with or worse), (foronto of nihonga better connecting of away holding also is technique and of style level on the ­conservatism nihonga as view on what we tend to light new sheds insight This roots. historical own its memorializes nihonga so longas to continue exist will and gests, 82 81 in general), “criticism is forbidden.” is general), “criticism in theaterarts the (orin unlike ritual, in that too, it significant, is then reenactment, of ritual some features acquired has today’sIf nihonga was founded. was nihonga upon which past to the connection intimate the we sustain can of longing, astate in remaining by bound, past the holding by so only it disappears; past, over we get the soon as as eral: gen in of mourning loss and characteristic afundamental as well as of nihonga areflection is This ­function. acentral is existence continued of “Japanese painting’s” viewers nihonga mainstream No Border No Furuta, See 14, no. 1 (2000): 33. 1(2000): no. 14, Studies Ritual of Tea Ceremony,” Journal Japanese the in Ritual and Theater Tea “A II, Gathering: Public Holland James-Henry 2001). Press, University Stanford CA: (Stanford, Life Mournful and Art Loss: Sustaining Horowitz, Gregg also see 7–17; 2007): 1(March no. 89, Bulletin Art Art,” Melancholy The Holly, “Interventions: Ann Michael By contrast, there is a sense in which artists from the 2006 No 2006 from the artists which in asense is there By contrast, ’s “anachronistic” stylistic conservatism, for such for such conservatism, stylistic ’s “anachronistic” , conversely, the process of reassuring modern modern , conversely, process of reassuring the . 82 Today, preser study, material the ’s historical roots in the 1880s, 1880s, the in roots ’s historical – ’s painting from ’s painting – affirms and affirms . 80 For 81

- - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00104 by guest on 29 September 2021 composition. The title, Jo title, composition. The nihonga 12th-century fromstereotypical a lifted havebeen might that flowers delineated meticulously amidst corpse human adissected represents away. work Matsui by Another trails and unravels hound supernatural of a hair curly the and page, the off evaporate and twist phantoms like: thinly painted than the typical nihonga typical the than painted thinly More ideas. his consonant with but strangely her works are sadness, of painting on the brooding millennial his penned Noriaki Kitazawa of pieces. new creation the and art of old and reenactment thestudy between moves fluidly nihonga developments, such Through centuries. past in effects certain achieve to were used pigments which to determine attempt an in drawing) outline on facsimile ablack-and-white (based from scratch paintings old polychrome of recreating method the 1889) in used founded Arts Tokyo government-sponsored of of the Fine School reincarnation war post (the Tokyo at Arts the of the scholars University case, another In death, and mourning with elements of the disturbing and grotesque. grotesque. and disturbing of the elements with mourning and death, Daigo and Four and of Sun, Seasons Moon, manner self-canonizing affirming, to nihonga return Matsui’s effectively works also viewer. to the available and prostrate body female young ment of—the enjoy frustrates then presents—and also painting the images, modern of pre traits formal on these Building width. of even outlines ink in simply is drawn body the and wash, ink with modulated been has that space in a shallow lies figure of Japaneseness. The symbols sion, the exten by and, methods Japanese painting purity—of the maintaining while alive Japanese painting” “traditional of keeping project overall evokes nihonga sardonically also title the purity, and death, maidenly impermanence, of dialogues familiar to belonging glance at first While existence. of human realm human impure representedthe originally that corpse female of adecaying Japanese paintings evokes medieval combination of scientific pigment analysis and art historical research. historical art and analysis pigment ­combination of scientific 83 Striving to Replicate the Complete Set] (Tokyo: Nihon Ho Nihon (Tokyo: Set] Complete the Replicate to Striving Reborn: Handscrolls Genji of Tale [The idomu ni fukugen Zenkan emaki: monogatari Genji Yomigaeru ed., Shuzaihan, Emaki” Monogatari Genji “Yomigaeru Nagoya NHK Matsui Fuyuko (b. 1974) was still an art student in the year that that year the in student art (b. an 1974) Fuyuko Matsui still was 7 (2012): 150–72. 7(2012): Mechademia Perception,” Depth of Wages the and emaki Genji Two in Dimensions: “Dying Jackson, Reginald see analysis, an for sentiments of stillness, of stillness, sentiments nihonga familiar infusing by , but rather – so – (Maintaining the Purity), Purity), the (Maintaining jizoku no , the images are literally ghost literally are images , the – so ’s roots—not in the the ’s in roots—not – Kyoku Shuppankai, 2006); 2006); Shuppankai, Kyoku - ’s - - - 83 -

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58 artmargins 4:1 hanging scroll,29.5∞79.3 cm.ImagecourtesyofGalleryNaruyama,Tokyo. Matsui Fuyuko. Jo 84 or sculpture. painting in evidently, not, arts—yet decorative Japaneseconsult work the in to Westerners urged and from Western art Japanese difference lished “Japonisme,” column estab politely magazine for his (1831–90), known Burty Philippe critic French the as such writers time, table for their chari even ordinary, outside as Japan. tones In seen painters modern as seriously taken no hope of being virtually had Japanese painters the 1880s, in emerged first of nihonga category and term When the Con body. feminine defunct of nihonga consumption or her own his question viewer the making by consumption of ritual act to the criticality re-introduces and nihonga Matsui’s soIn doing, work articulates 1, no. 8 (June 15, 1872): 59–60. 1872): 15, 8(June no. 1, littéraire et artistique II,” Renaissance “Japonisme 1883); Burty, 25, (June français République japonais,” Salon “Le Burty, Philippe c lu s ion – so – nojizoku(MaintainingthePurity), 2004.Inkandcoloronsilk, 84 In response, Hishida Shunso Hishida response, In ’s unspoken boundaries ’s boundaries unspoken – , the Rekitei and and Rekitei , the ’s fertile yet yet ’s fertile ­ - Pan-Real artists, Kuwabara Takeo, and perhaps Kitazawa, too, ended up dreaming at different moments about one single, fluid, and unsegre- gated field of artistic practice that would have no need for divisions between “Western” and “Japanese.” They did so, moreover, by testing the limits of what constituted nihonga materially and stylistically. While nihonga was supposed to encompass any form of “traditional” painting, in practice it acquired coherence through a recognizable style and ideological function, as Aida’s and Tenmyouya’s works have shown. When nihonga stopped ful- filling these criteria, it ceased to be distinguishable from the rest of artistic production. This led to a conundrum in which nihonga, consti- tuted in an age of Orientalism, has been obliged to reaffirm and reiter- ate its “sad history” of segregation in order to avoid extinction. As a counterbalance to the understanding of nihonga as a quest for forms of Japaneseness that satisfy powerful patrons, it should be noted that nihonga always had its self-aware, self-critical exponents, from Kishida Ryu– sei to Hada Teruo, Yamazaki Takashi, and Matsui Fuyuko.

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60 artmargins 4:1 86 86 85 e t o n yo and nihonga between complicate, todistinction ease, troubled or the dissolve seeking In horizons. future and realities lived as both have become paramount, belief and identity, politics, of racial-cultural ambiguities bubble the generations, ­possibly of Yet aworld post-economic- order the general. ­ among in and commitments, identity,political of cultural of fordesire fixity: the expressed has ofperpetuation its fear loss, and the around formed was Nihonga of art. forms other and art tradition-based between tion of Modern Art, Kyoto, generously provided access to artworks and primary texts. primary and artworks to access provided generously Kyoto, Art, Modern of Museum National the and Hirai Yoshinobu article. this of drafts earlier on suggestions helpful their for Murakado Noriko and Adachi, Gen Bielstein, Susan Wang, Peggy as category, too, will fade away. category, too, will nihonga the that means it identity, if and even of race, medium, distinctions 20th-century rigid the dissolve where artists of interconnectedness model alternative an encourage may collaborators. This and venues, categories, out different database), to try or gallery museum (and of the engine search Internet the of flexibility the by forcedenabled and economicstance, by need, Hearn (New York: Metropolitan Museum of Art, 2013), 19. 2013), Art, of Museum York: Metropolitan (New Hearn China Contemporary in Present as Past Art: Ink in Painting,” Ink Chinese Contemporary of History AShort Dichotomy: East/West the “Transcending Wu Hung, 2008). Books, York: Berghahn (New Within Boundaries the Crossing Japan: New the in Multiculturalism eds., Tierney, Kenji R. and Ertl, John Graburn, Nelson See

I am grateful to the ARTMargins editors and two anonymous reviewers, as well well as reviewers, anonymous two and editors ARTMargins the to grateful I am 85 At present, many artists in Japan assume an endlessly fluid fluid endlessly an Japan assume in artists many At present, – ga , their work invites opportunities for interac opportunities work invites , their 86 , ed. Maxwell Maxwell , ed. -