A Symposium DECEMBER 7–8, 2018

The 2018 Mildred Schnitzer Memorial Lecture in Asian Art THE MILDRED SCHNITZER MEMORIAL LECTURE SERIES

The Mildred Schnitzer Asian Art Endowment Fund was established in 1995 to honor the founder of the Portland Art Museum’s Asian Art Council. Mildred Schnitzer (1920–1999) was one of this community’s most passionate advocates for a greater understanding of Asian art and culture. The fund allows the Museum to bring distinguished speakers from around the world to Portland to share their knowledge and insights.

The fund was created and has been sustained by contributions from Schnitzer’s daughters and friends, as well as members of the Asian Art Council. Contributions to the fund are welcome.

SPONSORS

The Mildred Schnitzer Asian Art Endowment Fund

Bonhams

The Donald Jenkins Visiting Scholar Fund

The Metropolitan Center for Far Eastern Art Studies SYMPOSIUM REGISTRATION: Those who have not registered in advance online will be able to register for the symposium at any time at either of the two Museum entrances. Symposium badges can be picked up any time from Thursday, December 6, onwards.

EXHIBITION VIEWING HOURS: Poetic Imagination in Japanese Art will be accessible during all hours that the Museum is open to the public:

Thursday: 10 a.m.–8 p.m. Friday: 10 a.m.–8 p.m. Saturday: 10 a.m.–5 p.m.* *Extended hours until 7 p.m. for symposium attendees only FRIDAY, DECEMBER 7, 2018 6 p.m. Keynote Lecture: Retired Emperor Goyōzei’s Waka Album and “The Poetry Contest between Different Eras” Dr. Joshua Mostow, University of British Columbia

SATURDAY, DECEMBER 8, 2018 8:30 a.m. Coffee and Pastries (Stevens Room, next to the Whitsell Auditorium, lower level) 9:30 a.m. Welcome Brian Ferriso, Director, Portland Art Museum 9:45 a.m. Introduction Dr. Maribeth Graybill, Portland Art Museum 10:10 a.m. Form and Line: The Art of Calligraphy Dr. Sadako Ohki, Yale University Art Gallery 11 a.m. Poet Portraits: Why at All? And Why Thus? Dr. Maribeth Graybill, Portland Art Museum 11:45 a.m. Break 11:55 a.m. The World of Brush and Ink Professor Arata Shimao, Gakushūin University 12:40 p.m. Lunch on your own SATURDAY, DECEMBER 8, 2018 8:30 a.m. Coffee and Pastries 2:15 p.m. Introduction to the afternoon sessions (Stevens Room, next to the Whitsell Auditorium, lower level) Dr. Jeannie Kenmotsu, Portland Art Museum 9:30 a.m. Welcome 2:25 p.m. “This is not a Pipe!”: The Relation of Artistic Identity Brian Ferriso, Director, Portland Art Museum and Patterns of Abstraction in Representation in Literati Painting 9:45 a.m. Introduction Dr. Paul Berry, formerly of Kansai Gaidai University and Dr. Maribeth Graybill, Portland Art Museum University of Washington (presenting in absentia) 10:10 a.m. Form and Line: The Art of Calligraphy 3:15 p.m. Modern Vision: Mount Penglai by Kondō Kōichiro Dr. Sadako Ohki, Yale University Art Gallery Dr. Michiyo Morioka 11 a.m. Poet Portraits: Why at All? And Why Thus? 4 p.m. Break Dr. Maribeth Graybill, Portland Art Museum 4:15 p.m. An Ink Painting Perspective on Poetic Imagination 11:45 a.m. Break Masatomo Kawai, Director, Chiba City Museum of Art 11:55 a.m. The World of Brush and Ink 4:35 p.m. A Yamato-e Perspective on Poetic Imagination Professor Arata Shimao, Gakushūin University Professor Shinobu Ikeda, Chiba University 12:40 p.m. Lunch on your own 5 p.m. Remarks Cheney Cowles 5:15 p.m. Closing Remarks Dr. Maribeth Graybill, Portland Art Museum 5:30 p.m. Reception

*A short Q&A will follow each talk. BIOGRAPHIES

PAUL BERRY, PH.D. Formerly Professor at Kansai Gaidai University and University of Washington

Paul Berry, Ph.D., was formerly a professor of title: art history at Kansai Gaidai University and the “This is not a Pipe!”: The Relation of Artistic University of Washington. His primary research Identity and Patterns of Abstraction in areas are literati painting and modern painting, Representation in Literati Painting the latter with an emphasis on the wartime era (1931–1945). Dr. Berry’s recent publications description: include the scholarly essay “Utsushi and Literati painting (bunjinga) includes many Interpictoriality in Japanese Literati Painting” different systems of abstracted representation (日本文人画における間画像性と写し , that transform the depiction of the natural world in the book Utsushi no chikara, ed. Shimao Arata, in order to aesthetically recast feelings and et. al., Shinbunkaku, 2013) and the exhibition impressions of the world. How did the use of catalogue Literati Modern: Bunjinga from Late these varied abstract patterns differ from those Edo to Twentieth-Century Japan (co-authored in traditional painting lineages, and what role did with Michiyo Morioka, Honolulu Academy of they play in establishing an impression of identity Arts, 2008). as a bunjin artist?

MARIBETH GRAYBILL, PH.D. The Arlene and Harold Schnitzer Curator of Asian Art, Portland Art Museum

After twenty years of teaching Asian art at title: the University of California at Berkeley and Poet Portraits: Why at All? And Why Thus? Swarthmore College, Maribeth Graybill moved to a curatorial career, first at the University of description: Michigan Museum of Art and since 2007 in her Japan is unique in world culture in its veneration current position at the Portland Art Museum. In of poets. Drawing on works in the Poetic both curatorial positions she has explored a wide Imagination exhibition, this talk will explore the range of topics, with special exhibitions ranging principal formats and contexts in which imaginary from Persian narrative painting to contemporary portraits of poets were created and consumed. Japanese ceramics and women printmakers. As a specialist in Japanese art, she has published on poet portraits (kasen-e) and the work of Yosa Buson. Most recently she edited and co-authored The Artist’s Touch, the Craftsman’s Hand: Three Centuries of Japanese Prints from the Portland Art Museum (2011). SHINOBU IKEDA Professor, Division of Historical Studies, Faculty of Letters, Chiba University

Shinobu Ikeda is Professor in the Department of gender, locality, and empire in the popular arts History at Chiba University in Japan. Among her movements of the modern period (mingei, nōmin key publications are the monograph The Image bijutsu, and shugei), as well as doing research of Women in Japanese Painting (日本絵画 on the fourteenth-century handscroll painting の女性像 : ジェンダー美術史の視点 Illustrated Biography of Priest Kakunyo (Bokie), から, Chikuma Shobō, 1998) and the scholarly with a focus on the people and religious spaces of essay “Imperial Desire and Female Subjectivity: early-period Honganji Temple. Umehara Ryūzaburō’s Kunyan Series,” translated by Ignacio Adriasola (Ars Orientalis 47, 2017). Professor Ikeda is currently writing a book on

MASATOMO KAWAI Professor Emeritus, Keiō University and Director, Chiba City Museum of Art

A specialist in ink painting of the Kantō region, the Drucker Collection: Japanese Art beloved by Kawai Masatomo is a leading scholar of Japanese the ‘Father of Management’ (Bijutsu Shuppansha, art history whose interests and publications span 2015) and A Giant Leap: The Transformation of from the Kamakura to the late Edo period and a Hasegawa Tōhaku (co-author with Miyeko Murase, wide variety of artists and schools. As a scholar Japan Society Gallery, 2018). He is currently deeply interested in art history theory and in the co-editing the exhibition catalogue The Life of Western reception of Japanese art, he has worked Animals in Japanese Art (with Robert Singer, closely with scholars, curators, and collectors in Princeton University Press, forthcoming 2019). North America and Europe for many decades. Recent projects include Gems of Ink Painting from

MICHIYO MORIOKA, PH.D. Independent Scholar

Michiyo Morioka (Ph.D., University of title: Washington) is an independent scholar Modern Vision: Mount Penglai by Kondō Kōichiro specializing in nineteenth- and twentieth-century Japanese painting in traditional style. Among description: her major publications are Modern Masters of This lecture will focus on Mount Penglai 蓬莱 Kyoto: The Transformation of Japanese Painting 仙山, a dramatic ink painting created by Kondō Traditions, Nihonga from the Griffith and Patricia Kōichiro 近藤浩一路 (1884–1962) in the late Way Collection (Seattle Art Museum, 1999), An 1920s. Dr. Morioka will elucidate how this painting American Artist in Tokyo: Frances Blakemore, opens the door for a glimpse into the innovative 1906–1997 (The Blakemore Foundation, 2007), approaches of twentieth-century Japanese artists. and Literati Modern: Bunjinga from Late Edo to Twentieth-Century Japan, The Terry Welch Collection at the Honolulu Academy of Arts (Honolulu Academy of Arts, 2008).

JOSHUA S. MOSTOW, PH.D. Professor and Associate Head, Department of Asian Studies; Co-Director, Centre for Japanese Research, University of British Columbia

Joshua S. Mostow is Professor and Associate title: Head in the Department of Asian Studies Retired Emperor Goyōzei’s Waka Album and and Co-Director of the Centre for Japanese “The Poetry-Contest between Different Eras” Research at the University of British Columbia (Vancouver, Canada). His publications include: description: Courtly Visions: The Ise Stories and the Politics of This lecture will explore the many elements Cultural Appropriation, Japanese Visual Culture that comprise an album of calligraphed series no. 12 (Brill, 2014); with Henk J. Herwig, poems attributed to Retired Emperor Goyōzei The Hundred Poets Compared: A Print Series by (1571–1617) and eleven courtiers, examining Kuniyoshi, Hiroshige, and Kunisada (Hotei, 2007); the ornamental paper on which the poems are and co-edited with Norman Bryson and Maribeth inscribed, the script used, the selection of poems, Graybill, Gender and Power in the Japanese the genre of poetry-contests, the album format, Visual Field (University of Hawai’i Press, 2003). and the content of the poems themselves, His research focuses on text-image relations in revealing the long and changing culture of Japanese culture. Japanese poetry. The talk will also explore Retired Emperor Goyōzei and his personality, and show that the album itself can be seen as an example of how he championed a revival of imperial court culture. SADAKO OHKI, PH.D. Japan Foundation Associate Curator of Japanese Art, Yale University Art Gallery

Sadako Ohki is the Japan Foundation Associate title: Curator of Japanese Art at the Yale University Art Form and Line: The Art of Calligraphy Gallery, where she curated the special exhibitions Tea Culture of Japan (2009) and Byōbu: The description: Grandeur of Japanese Screens (2014). Dr. Ohki’s The phrase “East Asian calligraphy” often calls lifelong interest in calligraphy is manifested in to mind refined works of art: dancing black ink numerous essays, including “Collage of Painting, executed with sophisticated brush-handling on Calligraphy, and Poetry: A Study of Taiga’s Ink white washi paper. The soft-hair brush responds Bamboo with Kanshi Verse,” in the exhibition especially well to sensitive and powerful lines catalogue Ike Taiga and Tokuyama Gyokuran: generated by a calligrapher. However, before the Japanese Masters of the Brush (Philadelphia sophisticated calligraphic line was possible, the Museum of Art, 2007); “Konoe Nobutada’s Waka main stage of calligraphic art was the forms of Byobu: Kana Calligraphy and the Triumph of a characters themselves. Beginning with incised Courtier,” Orientations (Hong Kong, 2012); and oracle bones and later cast onto bronze vessels, “Japanese Calligraphy at Yale: From Sutra to the these ancient seal scripts had an enduring Avant-Garde,” Arts of Asia (March-April 2018). appeal: they are manifested in many of the seals Among her many current projects, The Private appearing in the Cowles Collection. Modern World of Surimono: Japanese Prints from the Japanese calligraphers were fascinated by the Drosten-Kenadjian Collection is forthcoming from formal beauty found in ancient scripts. By imbuing Yale University Press, Fall 2019. This catalogue each gesture of the brush with great emotion, elucidates Japanese culture and history—in these new practitioners pushed the boundaries of addition to art, language, and literature—through the medium to explore exciting new realms the combined art of images and kyōka poems of the calligraphic art. This lecture will explore from the first half of the nineteenth century. both form and line as essential aspects of the art of calligraphy.

ARATA SHIMAO Professor, Faculty of Letters, Gakushūin University

Arata Shimao is Professor of Japanese Art History title: at Gakushūin University in Tokyo. A leading The World of Brush and Ink scholar of the famous Muromachi-period painter Sesshū (1420–1506), his research addresses many description: facets of medieval and early-modern Japanese ink Suibokuga, or ink painting, uses two essential painting. Recent publications include For a Deeper components: black ink and a brush. Yet these Understanding of Sesshū: His Life and Works (も seemingly simple materials create a rich art っと知りたい 雪 舟 : 生涯と作品, Tokyo form that breathes life onto the blank surface Bijutsu, 2012) and Blurring the Boundary Between of white paper or silk. Ink can impart a variety ‘Wa’ and ‘Kan’: The Idea of Chanoyu and Japanese of tones, from the palest gray to the deepest Culture (和 漢のさかいをまぎらかす : 茶 black; water allows for infinite gradations and の湯の理念と日本文化, shading. When the tip of the brush touches the Tankōsha, 2013). surface of a painting, ink soaks into the fibers of the supporting paper or silk. Thus, ink painting exists not only “on” the support, but also “in” the support. Understanding the nature of ink is fundamental to a deeper appreciation of ink painting. In this lecture, Professor Shimao will use the nature of ink as a starting point to explore several of the typical styles, subjects, and expressive characters of the ink paintings which can be seen in the exhibition.

Yosa Buson (Japanese, 1716-1783), Thatched Retreat on Cold Mountain, early to mid-1770s, hanging scroll; ink and color on silk, Collection of Mary and Cheney Cowles, , L2017.67.39