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75 Cards in this Set
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Himeji Castle/Shirasagi-jo, Ikeda Terumasa, 1601-1610 (17th cen) -main wooden structure interior -stone walls and moat around castle complex -similar to Buddhist structures - timber structure -castles stood for power and were fortresses - mainly for defense |
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Ninomaru Palace, Nijo Castle, Iemitsu, 17th century |
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Kano Tanyu, Pines, Ohiroma (Great Audience Hall), Nijo Castle, 1626 (17th century) shohekiga/shobyoga: interior paintings on fusuma (sliding panels) or shoji (sliding paper doors) byobu: portable screen; six panel, paintings on each side -golden backgrounds to reflect light -attention to detail -decorative and aestheticized for rooms |
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Kano Eitoku, Landscape of Four Seasons, 16 fusuma panels, ink on paper, Daitokuji, Kyoto, Momoyama period, 1566 (Momoyama, 16th cen) -very large format -screen painting very "Japanese" -dark and light contrast with many subtleties -four seasons spanning across one room -limits of large scale ink paintings -attention to detail but with sketchy areas |
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Kaiho Yusho, Pine and Plum by Moonlight, pair of 6-panel screens, ca. 1599, 16th cen, Momoyama period -byobu screen paintings -large trees for framing -use of negative space as water -splash of color with foliage -beginning of pine tradition in screen paintings -distinct direction of water flowing in one direction - draws the eye across the panels |
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Tawaraya Sotatsu, Matsushima (Pine Island), pair of 6-panel screens, Momoyama period, 17th cen -large panel with different perspectives -ambiguity - clouds or land? -courtly colors - Yamato-e Heian style -island is completely flat - pine trees growing out of island -mountains and islands have different perspectives |
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Hasegawa Tohaku, Maple Tree and Flowers, four fusuma panels, color and gold leaf on paper, Momoyama period, 1592, 16th cen -tree frames the composition -decorative aesthetic - very eye-catching -detail and information - sense of realism, depth -atmospheric - colors very uniform/patterned |
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Hasegawa Tohaku, Pine Trees in Mist, pair of 6-panel screen, ink on paper, late 16th cen -pine trees: evergreen; enduring of hardship -tall = power is longevity -use of negative space and sense of depth with darker trees and lighter |
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Tai-an Teahouse, Myoki-an, Kyoto, 16th cen Sen no Rikyu (1521-1591) -shoin style architecture -tokonoma: niche area in wall; hang calligraphy or painting or flowers; place of meditation -chanoyu: way of tea; ritualistic -tatami: became unit of measurement for tea rooms -wabicha: lonliness, solitude; beauty in rustic and humble objects |
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Raku-ware tea bowl, "Katsujishi", Momoyama period, 16th cen -deliberately rough -different shape from Chinese tea-ware, but can trace back to tenmoku (jian ware) -humble and earthy form - closer to nature -embodies wabicha aesthetics |
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Shino-ware tea bowl, "Kogan", Momoyama period, 16th cen -beauty in simplicity and rusticity -Shinto aesthetics - something manmade can be beautiful -provided name for each bowl; unique |
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Iga-ware water jar, "Yabure-Bukuro", Momoyama period, 16th cen |
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Shigaraki tea jar, Muromachi, 15th cen -deeply rooted Japanese tastes -related to naturalness - goes with tea house and relates to Shinto shrines |
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Koetsu, "Mt. Fuji", raku-ware tea bowl, early 17th cen (early Edo) -Mt. Fuji in snow -"exquisite" tea ware -"machishu": wealthy, educated merchant class in Kyoto -"chonin": merchants and craftsmen; middle class of Kyoto |
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Compare "Mt. Fuji" with "Katsujishi" -both forms of raku-ware -similar shapes, different aesthetics -humble and rustic forms |
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Koetsu, "Boat Bridge", inkstone box, lacquer overlaid with lead and silver, Momoyama-Edo, early 17th cen -beginning of Rinpa school: work is characterized by bright colors, bold forms, lavish surfaces (often enhanced with gold and silver), the frequent use of a bird's-eye perspective, and their reliance on the painting styles and literary themes popular during the late Heian period -decorative aesthetics carry over from screen paintings -delicate yet sturdy - intended for consumption of rich merchant machishu class |
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Koetsu and Sotatsu, Flowers and Grasses of the Four Seasons, detail of a handscroll, early 17th cen, Edo period |
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Koetsu and Sotatsu, Deer Scroll, sections o fa handscroll, ink and color on paper, 1615, 17th cen -return to Heian, revival of courtly style -emotional and ethereal -surreal and poetic -controlled and decorative - single, simple motif repeated over and over again |
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Korin, Irises, pair of 6-panel screens, colors and gold foil on paper, ca. 1700, 16th/17th cen -irises the main subject of the painting -embodies Rinpa school aesthetics - decorative and patterned, with rich colors and gold overlay -perfect for machishu class |
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Korin, Red and White Plums, pair of 6-panel screens, ca. 1710, 18th cen -river running straight through the composition -frames the painting -patterned texture of river and trees; strong sense of design -natural to unnatural |
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European Landscape with Musicians, Christian century (ca. 1590-1650), oil on screen, namban style -Nagasaki was main port city - Western influence -"namban": Southern Barbarians -decorative element; Japanization process -screen format -depicts European musicians in a Western style (Dutch) -European architecture but into Nagasaki landscape |
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Pair of 6-panel namban screens, color and gold leaf on paper -depicts the visit of the Captain-Major to Nagasaki and his visit to the local church -Japanese style figures and landscapes -decorative element, almost reminiscent of otoko-e style |
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Shiba Kokan, A Meeting of Japan, China, and the West, ca. 1700, early 18th cen -personification of states - very Western style motif -scholar from China, western scholar with anatomy book, samurai from Japan -Kano school style -Rangaku: "Dutch Learning"; learn of Western technology and medicine through Dejima, island off coast of Nagasaki |
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Shiba Kokan, The Barrel Maker, hanging scroll, oil on silk, 1789, 18th cen -yofuga: oil painting style -mixing of Western/Eastern concepts -Dutch style landscape and composition |
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Maruyama Okyo, Sketchbook of Insects: Cicadas, ca. 1750, 18th cen -uses sketchbook as an art canvas itself -recorded what he really observed -anatomic studies from Western tradition; show how much influence Western science had on Japanese culture and art -classification very big deal around this time |
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Maruyama Okyo, Pines in Snow, pair of 6-panel folding screens, ink and gold on paper, 1780, 18th cen -tree looks more Western; shading reminiscent of Western art -subdued version of Western naturalism -tsuketate: uses no outlines, just dark and light shades to create the illusion of volume |
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Compare Eitoku "Four Seasons" and Okyo "Pines in Snow" -shading much more realistic in Okyo's pines -can see that the pine motif still pertinent even after Western influence -new ways to integrate Japanese themes with Western styles -large tree for framing - important for screen paintings -development beyond monochrome ink wash -unlike Eitoku, uses tsuketate technique |
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Mustard Seed Garden Manual of Painting, 1679-1701, 17th cen -"Nanga": literati painting; took new meaning in Japan as a class of professional painters, i.e. Taiga and Buson |
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Taiga, First Visit to the Red Cliff, 6-panel screen, 1749, 18th cen -illustrating a poem by Su Shi -one of Taiga's many styles -ancient script -Chinese style influence - strong angles and tall mountains |
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Taiga, True View of Mt. Asama, ink and color on paper, 1760, 18th cen -shinkei-zu: "true view picture"; moving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered -atmospheric perspective -Western influenced, Chinese poem, Japanese view |
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Taiga, True View of Kojima Bay, ink and color on paper, 18th cen -Yamato-e naturalistic views, combined with Chinese literati style and themes -technique from Mustard Seed Garden |
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Kikaku, Melon Skin, ink on paper, 17th cen -haiga: paintings with haiku poems -haiku: 5-7-5 syllable poem -simplicity and minimalism -grew out of zen art traditions and wabi-sabi aesthetics -poems give new angle to simple paintings -melon looks like spider legs on the water |
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Buson, Rocks Fan, ink on paper, 18th cen -haiga style -zen garden aesthetics |
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Buson, Illustrations of Matsuo Basho's The Narrow Road to the Deep North, handscroll, ink and light color on paper, 1778, 18th cen |
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Taiga, The Convenience of Fishing, ink and color on paper, 1771, 18th cen Buson, The Pleasure of Summer, ink and color on paper, 1771, 18th cen -similar Nanga styles (literati) -Taiga more focused on figures -Buson more focused on poetic side; figure is only small component of entire setting |
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Taiga, The Convenience of Reciting Poems, ink and color on paper, 1771, 18th cen Buson, The Pleasure of Autumn, ink and color on paper, 1771, 18th cen |
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Lady Kii, Ch. 44 Bamboo River, from the Tale of Genji, Heian, 12th cen -nyobo-edokoro: painting atelier staffed by court ladies-in-waiting -onna-eshi: female professional painters -bunjin: literati artists -can still see part of underdrawing (tsukuri-e); changed a few times -not as masterful as other works in series -colorful and nonlinear -more emotional than other works in series |
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Lady Kii, Ch. 45 Lady at the Bridge, from the Tale of Genji, Heian, 12th cen -patterned, lack of clarity -uncertainties in the strokes and lines -ambiguous figures |
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Gyokuran, Orchid, ink on paper, 18th cen, Edo period -four gentleman plants; Chinese subject -orchids: highly educated, high character; unassuming, not flashy, symmetrical; modest -woman's role as wife and artist |
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Gyokuran, Plum Blossoms, ink on paper, 18th cen, Edo period -feminine flowers; depict endurance through winter -strength and resilience -symbol of endurance and floweringdespite hardship -self-expression |
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Gyokuran, Landscape, ink and color on paper, 18th cen, Edo -figure in red; main character -Yamato-e style hills and mountains -similar style to nanga literati paintings |
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Cho Koran, Landscape in Mi Fu style, ink on paper, 19th cen, Edo -very Chinese influenced -black and white nanga style -can see where the nanga literati style came from -sense of confidence in displaying a Chinese style; very controlled and bold |
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Compare Taiga "True View of Kojima Bay" and Cho Koran "Landscape in Mi Fu" -Taiga's use of watercolor texture -Koran's style very faithful to Mi Fu; academic, scholarly -Taiga's has more expression and personal style -"True view" painting: Japanese landscape, but Chinese medium/style -Cho Koran: explicitly Chinese |
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Cho Koran, Plum Villa Landscape, ink on paper, 19th cen, Edo -very complex and accomplish -a display of high skill -typical Chinese landscape from 15/16th cen |
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Cho Koran, Plum Blossoms, ink and color on paper, 19th cen, Edo -nanga style -again, the plum blossoms as a symbol of endurance and resilience -form of self-expression; self-portrait like? |
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Scenes in and around the City (Rakuchu-Rakugaizu), pair of 6-panel screens, 17th cen, Edo -power of Edo as a metropolitan hub -Tokaido Road: connected Kyoto and Edo during Edo period |
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Hikone Screen, 6-panel byobu, color, ink, gold leaf on paper, Edo, ca. 1630, 17th cen -very expensive, indicative of Rinpa school -still form of ukiyo-e |
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Moronobu, Illustration from Yoshiwara no tei, ink monochrome woodblock print on paper, horizontal oban, 1678, 17th cen -Yoshiwara: red light district; pleasure quarters; integral part of townspeople's lives -mixture of social classes interacting with each other -Ukiyo-e: “floating world”; term came from Buddhism; richor poor – whoever you are, the physical life is just floating and transient -Moronobu made print art its own genre - depicts modern life in new genre; leisure activities |
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Harunobu, Viewing Maple Leaves by the Waterfall, ukiyo-e print, 1760s, 18th cen -nishiki-e print; color (blockade) print -depicts courtesans from Yoshiwara; fashions of the day; popular textiles -flirting/pleasurable experience; fan as a flirtatious device -man wearing black as a contrast to the colorful women -graceful and gentle figures; "cherry mouth" women |
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Utamaro, Woman of the Coquettish type from series "Ten physiognomic types of women", nishiki-e woodblock print, c. 1791, 18th cen -bijinga: "beautiful women" genre of woodblock prints -focused on the psychology of women -okubi-e: depictions of the head -portraiture to study head -coy expression on her face, looking off panel; flirtatious personality of Yoshiwara courtesan |
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Utamaro, Three Beauties of the Present Day, okubi-e, nishiki-e woodblock print, 1793, 18th cen -women look similar, but have distinct features that signal who they are; family crests -bijinga genre -idealized portraits of fashionable women at the time -signature Utamaro print |
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Sharaku, Otani Oniji III as the Servant Edobei, nishiki-e woodblock print, yakusha-e, 1794, 18th cen -yakusha-e: "actor prints"; kabuki actors popular subject for woodblock prints -Sharaku very mysterious artist -dynamism and energy of expression -did not shy away from unflattering details -very distinctive style |
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Sharaku, Actor Sakata Hangoro III as the Villain Mizuyemon, nishiki-e woodblock print, 1794-95, 18th cen |
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Hokusai, Under the Wave off Kanagawa, 36 Views of Mt. Fuji, 1830-31 -looking to Edo from the outside -view from within the ocean; immersion -anxiety and fear from foreign invasions; coast of Japan vulnerable; Mt. Fuji as a symbol of Japan -depicts the wave at its highest point and captures its dynamism -color palette: Berlin blue; synthetic color from Germany -aizuri-e: print primarily in blue -use of mica as a color |
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Hokusai, Rowing Boats in Waves at Oshiokuri, color woodblock print, ca. 1810, early 19th cen -earlier version of waves -waves become a theme throughout Hokusai's work |
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Hokusai, Sazai Hall of the Temple of the Five Hundred Rakan, 36 Views of Mt. Fuji, color woodblock print, 1830-33 -bokashi technique: gradation of ink; variation in lightness and darkness; used for sky |
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Hokusai, View of Fuji from the Rice Fields in Owari Province, 36 Views of Mt. Fuji, 1830-33 -scientific approach to circle; Western influence/perfect circle |
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Hokusai, A Quick Guide to Painting, sketchbook, 1812, early 19th cen -geometric approach to drawing -inspired by Mustard Seed Guide -Western approach to figures |
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Hokusai, Mitsui Store in Suruga District, 36 Views of Mt. Fuji, 1830s -series of triangles; geometric architecture -architecture echoes Mt. Fuji's shape -bokashi: gradation of sky |
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Kitagawa Toyohide, Kabuki actor Kataoka Gado II as Chishima Kanja Yoshihiro, ca. 1841, color woodblock print, ca. 1841, 19th cen -force and power of wave associated with Kabuki actor -impact of Edo visual culture; Hokusai's wave has become part of popular culture -frozen moment showing the climax of the kabuki play -Hokusai's wave inspired by the climax of the kabuki play; sudden pause and strong pose -idiosyncratic and dramatic pose |
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Hokusai, Mt. Fuji in Clear Weather (Red Fuji), color woodblock print, 1830-33 -gradation of red and blue -Mt. Fuji is the main subject of the print |
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Hiroshige, The Sea at Satta in Suruga Province, 36 Views of Mt. Fuji, color woodblock print, ca. 1858, 19th cen |
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Hiroshige, Rain Shower over Ohashi Bridge and Atake, 100 Views of Edo, color woodblock print, 1857, 19th cen -bokashi: gradation of color -Edo city as a character in prints -focus on a moment of certain drama |
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Hiroshige, Winter in Snow at Kambara, 53 Stations of Tokaido, color woodblock print, 1834-35, 19th cen -mica used in background; mineral pigment -repetition of form - triangles of architecture echoed in mountain |
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Hiroshige, Sudden Shower at Shono, 53 Stations of the Tokaido, color woodblock print, 1834-35 -strong diagonals; tension of moment -two figures running down in opposite direction -shadow very Western idea -almost Rinpa-like -diagonals up and down; very dynamic -caught frozen at one moment |
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Hashimoto Chikanobu, A Mirror of Japanese Nobility, triptych, 1887, 19th cen -dressed in western garb - imperial family -no more ban on depicting officials -embraced Westernization/modernization -Meiji Restoration of 1868; Iwakura mission -engineers of building a new Japan |
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Kuroda Seiki, Morning Toilette, oil on canvas, 1893, late 19th cen -first Japanese professor of Western-style painting at Tokyo School of Fine Art -first nude exhibited in Japan; caused an uproar -Yoga: "Western-style paintings"; in contrast with Nihonga |
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Kuroda Seiki, By the Lake, oil on canvas, 1897, late 19th cen -Japanese subject and garb in Western style painting -a bit of Yamato-e in its landscape -new, modern woman; contemporary with impressionism in Paris |
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Compare "By the Lake" with "Barrel-Maker" -"Barrel-Maker" in Rangaku style -imitation style -Western styles, but one with Japanese subject, other ambiguous |
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Kano Hogai, Landscape in Snow, hanging scroll, ink and color on paper, Meiji, 1867, 19th cen -Nihonga: "Japanese style paintings"; in accordance with traditional Japanese artistic conventions, techniques and materials -Fenollosa wanted to preserve Japanese tradition -Chinese-inspired; directly descended from Kano school -Sesshu's style |
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Kano Hogai, Eagles in a Ravine, hanging scroll, ink and color on paper, Meiji, ca. 1885-86, late 19th cen -close attention to detail; use of negative space -naturalism -abstract waterfall; patterned waterfall contrast with organic/natural birds -decorative tradition -strong diagonal; dynamic angle -atmospheric; very large scale feeling; concavity of scene -- feeling of depth |
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Kano Hogai, Fudo Myoo, hanging scroll, ink and color on paper, Meiji, 1887, late 19th cen -esoteric Buddhism influence -iconography similar -landscape setting; light and space; artificial lighting -pulls the figure out towards us |
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Hishida Shunso, Fallen Leaves, pair of 6-panel screens, mineral pigments on paper, morotai technique, 1909-10, early 20th cen -morotai: subtle, atmospheric, sfumato style that marked a radical departure from the traditional Japanese emphasis on line -blurred contour without strong lines -color gradation and outline of trees -compare with Tohaku "Pines" |
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Compare Shunso "Fallen Leaves" with Korin "Bamboo and plum tree" Ogata Korin, Bamboo and plum tree, Edo Period, 18th cen -framing trees scattered across the composition - sense of foreground and background in Shunso; Western style -everything else very Japanese -decorative aspect of byobu painting still present |
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Kobayashi Kokei, Fruit, hanging scroll, mineral pigment on paper, 1910, early 20th cen -no specific light source -morotai outline technique -compared with Western still lifes, still have decorative aesthetic; not focused on realism -apples not uniform, scattered differently |
