As this was their Neolithic period, people
were constantly on the move, gathering and hunting for food as they migrated with the
changing seasons. The term Jomon comes from the cord pattern
technique in this period’s pieces. The Jomon people were skilled potters that
made beautiful figures by pressing twisted cords into wet clay before baking it. This
left intricate cord patterns on the clay. The artists of this time also created small
clay figurines called Dogū Commonly measuring at 3 to 11 inches in height,
they often depicted women with exaggerated features.
Some even had tattoo-like markings on their faces, chests, and shoulders, which were likely
made through incisions with bamboo. One of the most celebrated Dogūs is the "Jomon
Venus" a fertility goddess made of clay and measuring at 11 inches.
Another type of Dogū is the "Shakōki" which are known for their large eyes resembling
snow goggles and small holes for a nose and mouth.
Many of these figurines had exaggerated chests and thighs, as well as incised details on
their abdomen, and intricate headpieces. Like other prehistoric cultures, the Dogūs
are portrayed in frontal poses. Discovered in burial sites, these artifacts
seemingly played a role in ceremonial practices and although their exact purpose remains unknown,
experts believe that some were fertility symbols to help in childbirth, while others served
as protective talisman for their bearers. Looking at these two works, some of the earliest
of Japan’s history we catch a glimpse into the daily lives and
cultural practices of the Jomon people and see that they likely held deep-seated
beliefs in the power of these figurines. During the Heian period, the capital of Japan
was moved to Kyoto, and there was an emergence of a new aristocratic class, largely owing
to the influence of the Fujiwara family. Acting as regents for the emperor, the Fujiwara
family consolidated their control over the state and exerted their influence over both
political and cultural spheres. This stability allowed for the formation of
a leisure class of court members who were free from political obligations.
And so they focused on artistic and cultural pursuits, the fruits of which have had a lasting
influence on the course of Japanese art history. Following several centuries of exchange with
China Heian artists developed a new painting style
called Yamato-e. It was uniquely regarded as “Japanese”
as opposed to “foreign,” and was primarily done on folding screens and room partitions,
which were difficult to preserve. The subjects were often of Japanese landscapes,
poetry, history, and mythology. Some Yamato-e paintings were created as illustrated
handscrolls called Emaki which were used to depict literary classics like “The Tale
of Genji.” Written by Lady Murasaki Shikibu, the Tale of Genji is considered to be one
of the greatest works of literature, and is often called the world's first novel.
Unlike screens or sliding door panels these illustrations could be safely rolled up and
stored away. Because of this, several early examples still exist today.
Created by various artists over the centuries, “The Tale of Genji” is a long and complex
tale that follows the life and relationships of Prince Genji and the women in his life.
The novel's most compelling illustrations were not necessarily literal, but rather those
that artfully selected imagery to engage the reader's imagination.
These illustrations exemplify how the interplay between text and image can be complementary,
not redundant. Rather than using facial expressions which
would go against the refined aesthetic of the court the artists convey mood through
carefully posed figures, fresh and bright colours, and the masterfully depicted architectural
elements as the viewers gaze from above into roofless rooms. The Kamakura and Nanbokuchō periods were
a time of political and social change in Japan. By the second half of the 12th century, the
Fujiwaras' dominance had declined and political power shifted from the noble class to military
landowners in the provinces. This new warrior ruling class controlled the
country from their base in Kamakura, near modern Tokyo.
After almost 150 years of power, supporters of an opposing coalition who wanted to return
political power to the throne, toppled the Kamakura regime but their their rule was short-lived.
And so the Nanbokucho period, which was a time of constant strife began as the previous
ruling party was pushed out and seeked refuge in the south, and was replaced by a new military
government that took control in the North. As society became more divided and violent,
people became increasingly pessimistic and turned to Buddhism in search of hope, leading
to a widespread popularity of the religion. This period saw a change in the way people
appreciated art. The rise of buddhism coincided with the warrior class embracing their newfound
roles as patrons of the arts. People's appreciation for art evolved and they were drawn to works that exuded sincerity
and vigour leading to a more realistic style. Temples and other religious buildings were
adorned with Buddhist sculptures and paintings. And Artworks depicting samurai often portrayed
them embodying the ideals of Bushido, the code of conduct followed by the class, characterized
by strength, courage, and unwavering loyalty. The most famous statue of the period is The
Great Buddha of Kamakura. Situated at the Kōtoku-in Temple in Kamakura,
this statue portrays Amitabha, the Buddha of Eternal Life.
He is a significant figure in Mahayana Buddhism, which spread from India to East Asia. It teaches
enlightenment by reincarnation and is the most popular form of buddhism in Japan today.
It stands tall at 43 feet and weighs over 200,000 lbs. This monumental hollowed piece
is not only one of the world's largest bronze statues but it is also a renowned iconic landmark
that attracts visitors from all over the globe. You can even go inside.
As you enter a sign reads ”Stranger, whosoever thou art and whatsoever
be thy creed, when thou enterest this sanctuary remember thou treadest upon ground hallowed
by the worship of ages. This is the Temple of Buddha and the gate of the eternal, and
should therefore be entered with reverence.” Due to its size, it could not possibly be
cast in one piece and so casting experts used very skillful techniques to create it
in layers, and connect all of the pieces together. These graded castings resulted in parallel
lines on the statue's surface, which we can see here.
The sheer level of craftsmanship that went into creating this statue which required specialized techniques and
intense labor makes it a testament to the dedication and
talents of the artists of this time. He sits there in the open air, majestic and
serene towering over the landscape as his face turns
towards the peaceful waters of the ocean. We can almost feel the calm and grace that
he emanates. Knowing he represents something truly special
and meaningful to those who worship at its feet. Another important artwork of this period,
is the “Night Attack on the Sanjô Palace.” A scene from a century earlier.
This 23 foot illustration is done on a hand scroll in the style of Emaki we’ve previously
explored. This medium is traditionally suited for narrative
paintings, and we can see why here. The illustration is depicted from a bird’s eye view of the
action, as it unfolds from right to left, the story’s beginning and its end.
A handscroll is similar to a book in that it is a small, personal object that is meant
to be held and viewed upon close by only a few people at a time.
Its intimate size and format invite viewers to hold the painting in their hands, and get
lost in the story as it unfurls before them. It is rare to find a work of art that so vividly
depicts the violence and emotion of war as this piece.
As you gaze upon the painting, your eyes cannot help but move from one vivid detail to the
next and you are powerless to resist the sense
of urgency and crisis. The opening section shows a panicked crowd
rushing towards the palace, mirroring the viewer's own anxiety and curiosity.
In the next section, the attackers are shown forcing the emperor and his sister into an
ox-drawn carriage. The scene is that of a massacre as the attackers
kill and injure anyone who tries to escape. The flames and smoke are vividly depicted,
adding to this sense of chaos and destruction. The scroll ends with the attackers taking
off with the abducted emperor. The text introducing the scroll in the far
right, describes the tragic fate of those who tried to escaped. The ones that took to
the well drowned at the bottom those in the middle of the scene suffocating,
and the ones at the top burned to death. This scroll is a prime example of Otoko-e
style, or "Men's Paintings," which were known for their action-packed and dynamic depictions
of events. They were typically created by male artists
for male audiences, and captured the energy and intensity of battle.
This was done through detailed and realistic depictions of weapons armour, and the movements of the combatants,
intensified by bold and expressive brushwork. This period also led to the creation of the
sumi-e. Directly translating to ink-picture it is a form of brush painting that uses black
ink and water to create monochromatic compositions. This style is an important part of the Zen
tradition and is often associated with Zen Buddhism.
Inspired by this religion’s focus on mindfulness and the present moment, ink paintings often
depict simple and minimal compositions that highlight the essential elements of the subject
matter and omit all unnecessary details. With just a single brush stroke, Sumi-e artists
capture the essence of their subjects in a dynamic and expressive art form that is full
of spontaneity and energy. Sesshū, a Japanese painter and Zen monk,
is celebrated as master of Sumi-e. His painting, “View of Amanohashidate”
captures the natural beauty of this sandbar, whose name directly translates to "Bridge
to Heaven." Near the centre, we can see the white sandbar pine trees and the Chion-ji Temple. At the
top is the Sea of Aso and on its shores lie the town of Fuchū and its temples and shrines.
Near the bottom in the foreground is the Bay of Miyazu, which is slightly hidden by a mountain
range. The soaring peak of this entire scene is a
massive mountain that houses the Nariai-ji Temple, a sacred ground.
The use of a high vantage point does not exist in reality, but is used to emphasize the magnificence
of this scene. The brushstrokes look as if they were created
in a single sitting. Appearing somewhat rushed they give the painting a sense of movement
and aliveness. This piece captures the essence of Japan's
natural beauty in a way that is both aesthetically pleasing and historically significant.
At a glance, it transports the viewer to a time and place far removed from their own,
offering a window into the country's past. After the tumultuous Kamakura and Nanbokuchō
periods, Japan underwent a period of unification under the leadership of Oda Nobunaga and his
two successors. This period encompassed the transition of
Japanese society to a time of opulence and grandeur.
Traditional temple architecture was replaced by lavish castles and mansions.
In fact, this period takes its name from the castles of Azuchi and Momoyama the homes of Oda Nobunaga and Toyotomi Hideyoshi.
They had two purposes. To be fortresses of defence and to stand beautifully as a symbol
of unification. The Kanō School, which is known as the most
influential school of painting in Japanese history, created exquisite large-scale paintings
to embellish the castle walls. This school’s works were often commissioned
by the ruling class, and were known for their ornate style.
"Cypress Trees” is a prime example of this lavish style. It has been attributed to the
Japanese painter Kanō Eitoku, a prominent patriarch of the school.
This piece is done on a multi-panel folding screen that is used to divide and enclose private spaces.
Against the gold-leafed background of clouds, the screen is filled with a massive tree and
its spreading branches. By simplifying the background and minimizing
the number of colors, the artist has emphasized the commanding presence of the cypress tree.
The dark blue waters of a pond peek out of the gold and run across the bottom. The tree
bark is depicted with energetic brushstrokes, adding to the overall dynamic feel of the work. The might of the tree we sense here reveals both the artist’s passionate spirit,
and the boundless desires of this period’s leaders. The Edo period, also referred to as the Tokugawa
Period was the final one of traditional Japan. During this time, the country was under the
rule of Tokugawa shogunate the military government that was in charge
for over 2.5 centuries. The country was finally without war. It was
a time of political stability and economic growth for Japan's cities, particularly
for Edo or present-day Tokyo. For nearly three centuries, Japan's borders
remained closed, which allowed the country's unique culture, customs, and ways of life
to thrive in isolation. This is reflected in art forms that continue
to be practiced today such Ukiyo-e Kabuki theatre, and Haiku poetry.
Ukiyo-e, often translated as "pictures of the floating world," refers to genre of Japanese
woodblock prints and paintings that flourished during this time.
Many pieces of this style depict the pleasure-seeking culture of this period. They capture the alluring
beauty of courtesans and the talents of celebrated Kabuki actors.
This was the first major art movement in Japan that was not supported by the ruling class
or aristocracy. It marked a new era in Japan’s art history created by and for the merchant class, reflecting
their cultural values and identity. Ukiyo-e helped forge a unique Japanese aesthetic
and national identity and with time the subject matter expanded
to include landmark scenery and historical events.
The essence of the Ukiyo-e style is embodied in the works of Utamaro, Hokusai, Ōi and
Hiroshige. Hokusai's Ukiyo-e artworks are known for their
bold, distinctive style and dramatic compositions. His series "Thirty-Six Views of Mount
Fuji” is widely regarded as one of the most iconic and influential series in Japanese
art history. You might recognize his most well-known piece
in this series — "The Great Wave off Kanagawa.” Described as "possibly the most reproduced
image in the history of all art.” Hokusai captures the power of nature through
the depiction of three boats navigating rough seas with Mount Fuji in the background.
The sea dominates the composition. As the large wave spirals in perfect form, it take
center stage, providing a backdrop that allows us to catch a glimpse of Mount Fuji in the
distance. The dark shades surrounding the mountain suggest
the painting is set in the early morning, as the sun rises and begins to cast light
on the snowy peak. The scene is composed of curves. See how they
flow through the painting, all repeating the pattern of the big wave, starting at the surface
and rippling out within the water. It is as if the whole scene is alive, constantly in
motion, and the curves are the very heartbeat of the entire picture.
There is a stark contrast between the background and foreground. The violence of the great
wave is set against the tranquility of the empty sky, a kind of balance.
Man, powerless and at the mercy of nature, is depicted struggling between these two forces,
as the stranded boats are swept away by the giant wave.
"The Great Wave Off Kanagawa" has two inscriptions. The title of the series is in the upper left corner,
which reads “Thirty-six views of Mount Fuji / On the high seas in Kanagawa / Under the
Wave.” And Hokusai's signature is to the left of
the box, which translates to “from the brush of Hokusai, who changed his name to Litsu.”
Hokusai came from humble beginnings and had no surname but he changed his name over 30
times throughout his career, never starting a new cycle of work without changing it. And
so people often use his name to identify different styles and periods of production.
On his tombstone his final name was Gakyo Rojin Manji, which means "Old Man Mad About
Painting." This piece, though unintended, showcases his
mastery over perspective. Depicting Japan’s largest mountain as small yet mighty, as eye
are drawn to its snow-capped peak. But that’s not all, this piece became a
symbol of Japanese art, and swept across the Western world, inspiring Impressionists and
Post-Impressionists with its bold lines and Prussian blue hues. In the 1850s, as power changed hands, Japan
ended its isolationist foreign policy and opened trade with the west.
Ukiyo-e prints, including the landscapes of Hokusai introduced Westerners to the vibrant
style of Japonisme. Coined by the art critic and collector Philippe Burty, this term refers
to the popularity and influence of Japanese art on Western art and design.
They were fascinated by the unique use of color and composition in these prints and
drew inspiration from them. This movement influenced famous artists like
Degas, Manet, Monet, van Gogh, and Toulouse-Lautrec, and even had a lasting broad impact on modern
art movements like Impressionism and Art Nouveau. Yet Hokusai’s influence did not stop there.
His daughter Katsushika Ōi, an accomplished artist in her own right, honed her craft under
his guidance. While her sisters married and left the workshop,
she remained independent. She gained recognition including that of her father’s for her
talents in depicting women. Her success challenged the patriarchal norm
of her time. Women were typically excluded from the art world, but Ōi's talent was undeniable.
So much so that her peers put aside societal expectations and revered her as a highly accomplished
artist. We can see why here. “Night Scene in the
Yoshiwara” is a captivating Ukiyo-e depicting the lively atmosphere of the red-light district.
The painting portrays a group of women and their clients in a brothel setting, surrounded
by an exquisite interior and intricate details of the establishment.
These women’s roles were well-known by society but all else about their lives was left to
the imagination. The street are illuminated by lanterns revealing
the figures that live in the shadows. Each person is depicted in a unique pose that exudes
a palpable sense of motion and intention as they carry out their evening pursuits.
Ōi's use of bold lines and deep contrasts give this piece a striking visual impact.
The black of the night is contrasted with the warm, orange glow of the lanterns which
cast deep shadows and create a sense of depth and atmosphere.
The most important accomplishment of this piece is that the women are depicted with
grace and elegance. Despite their societal status as courtesans, their postures convey
a sense of confidence and self-assurance. Another important ukiyo-e artist is Kitagawa
Utamaro, best known for his portraits of women with exaggerated, elongated features.
His most famous work is the series “Ten Studies in Female Physiognomy,” where the subjects
are beautiful and fashionable women of different social classes.
You might recognize this particular print here. “Woman Wiping Sweat.”
Using the Ukiyo-e portrait style called Okubi-e which Utamaro first introduced, the artwork
focuses on the head or upper body of the subject. This method emphasizes the subject's facial
features, making it the only focal point. With a bare background, the setting becomes
unimportant, putting the spotlight solely on the subject's face.
This piece shows a woman wiping sweat from her brow with a gentle and introspective
expression on her face. The composition is characterized by the use
of negative space and the careful placement of the woman's hand and the cloth she is using
to wipe her brow. What’s also interesting is Utamaro’s use
of tones. He masterfully uses muted colors alongside the subject's vivid red lips, accentuating
her facial features and echoing the Edo period's beauty standards.
This piece is a perfect representation of Utamaro's work in the Bijinga, the art
of depicting beautiful women, which was popular in Japan's late Edo period.
He left a lasting mark on the way women were depicted in Japanese art, shaping the way
future artists approached the subject. A fellow artist of Katsushika Ōi’s in this
period was none other than Hiroshige. He is often referred to as the last great
master of the Ukiyo-e form and his most famous work, "Sudden Shower over Shin-Ōhashi Bridge
and Atake" is a standout piece in the series "One Hundred Famous Views of Edo."
This collection of works was the first of its kind because it featured multiple unique
landscape views. Commissioned shortly after the 1855 Edo earthquakes and fires, it showcased
newly reconstructed buildings, celebrating the community's resilience while captivating
citizens with the city's ongoing progress. Vincent van Gogh was fascinated by Ukiyo-e
prints and was known to have collected and studied them including works by Hiroshige.
He was particularly drawn to this piece, which he reinterpreted in oil as "Bridge in the
Rain.” And we can see why it has been so inspirational.
This print captures the drama of a rainstorm on the Ohashi Bridge.
Hiroshige brings to life the familiar feeling of sudden showers and the chaos that comes
with it. He invites us to experience the scene for ourselves.
The bridge is the central focus of the print. Its curves make for a beautiful subject for
artistic interpretation. In the foreground, we see people seeking shelter
from the rain as they cross the bridge using umbrellas, mats, and straw hats to shield
themselves. The raindrops are masterfully brought to life
in this woodblock carving through the use of thin, dark parallel lines arranged in two
directions, a remarkable accomplishment in this challenging medium.
In the background a boatman navigates the Sumida River as dark clouds gather in the
sky, adding to the sense of drama and movement in the scene. Japan's modern period, which comprises of
the Meiji, Taishō, Shōwa, and Heisei periods, began with the Meiji Restoration in 1868.
This pivotal political event signaled the end of the Edo period and reestablished practical
imperial rule under Emperor Meiji, putting an end to Japan’s isolationist policies
and abolishing the strict class system. This led to a more democratic society and
cultural exchange with the West which helped Japan modernize and become a more prosperous
nation. It also inspired many artists to experiment
with new media and techniques in their art, reflecting the country's newfound openness
and creative energy. With the death of emperor Meiji, came the
ascendance of his son, Prince Yoshihito. The recently crowned Emperor introduced his
era name, Taishō, which translates to "great righteousness," to mark the beginning of his
reign. During this time, the country continued its
trend of adopting foreign influences while participating in World War I.
Amidst this backdrop was Tomioka Tessai, a painter and calligrapher.
He was known as the last major artist in the Nanga tradition, which is an artistic style
that arose from a passion for Chinese culture and a desire to promote a more refined and
intellectual approach to life and art. These paintings were usually done in black
ink and used calligraphic line-work and delicate brushwork to depict beautiful landscapes or
scenes of everyday life, often with naturalistic details.
They also regularly included poetry and inscriptions added by the friends of the artist to complement
the work. We can see elements of this artistic style
here. “Abe-no-Nakamaro Writing a Nostalgic Poem while Viewing the Moon.”
As this silk canvas stretches before us, a serene landscape unfolds in muted shades of
beige, with bursts of vibrant red and green adding an unexpected pop of color.
We can see two figures seated under a wooden pagoda. The figure on the left is holding
a brush and a scroll as if in the process of composing.
The one on the right is looking up at the moon in the sky.
The Pagodas are painted in rich, warm of reds and deep blues, giving the painting a sense
of comfort, warmth and tranquility. The overall effect of this piece is one of peaceful contemplation
and a sense of nostalgia. A defining work of the Shōwa period is Fujishima
Takeji's "Sunrise over the Eastern Sea.” He was a painter who contributed to impressionism
and romanticism within Yōga, a style of art that depicts Japanese subjects, themes or
landscapes using European techniques and materials.
In 1905 Takeji visited France, where he was inspired by the art movements of the time,
particularly Impressionism, the influence of which is evident in this painting.
It was commissioned for Emperor Shōwa, the longest-reigning Japanese emperor and is
meant to celebrate his rise to power with a sunrise theme.
Takeji journeyed from the north of Honshu to the southern colony of Taiwan, from the
sea to the mountain, seeking the perfect sunrise. The composition of this painting is quite
simple with only a sailboat, the sea and the sky, and the color palette is minimal,
working together to create a warm and vibrant atmosphere.
We can see that Takeji’s objective with this painting was to create a sense of simplicity
and he’s done a great job As we gaze upon this painting, a feeling of
calm and serenity surfaces, with the sunrise serving as a symbol of hope and new beginnings. Another pioneering artist of Japan’s Modern
period is Uemura Shōen. She challenged gender norms and rose to prominence during the Meiji,
Taishō, and Shōwa periods. As one of the first female painters of her
time, she broke through traditional barriers to become a prominent figure in the art world.
She began studying painting at the age of 12, under the tutelage of Chinese-style landscape
painter Suzuki Shōnen. She drew inspiration from Japanese woodblock
prints and became famous for her paintings of women or Bijinga.
In fact, she was a major innovator in this genre of Japanese art, portraying the more
modern statuses of women in Japan. She received several awards and recognitions
during her lifetime. She was the first female recipient of the Order of Culture award, and
was even appointed as the Imperial Household's official artist.
Despite being criticized during her time, her works celebrated the beauty of traditional
female standards, and paved the way for future female artists.
Her impressive body of work includes a masterpiece called "Large Snowflakes" which captures
a snapshot of two women caught in an unexpected snowfall.
They gracefully hold their umbrellas that appear almost weightless against the sky that
surrounds them. One of them is covered with a blue-violet
cape that conceals her head, mouth, and ears, while the other lifts her brightly colored
kimono to move faster. Uemura's use of negative space is particularly
impressive, as it conveys the sensation of the chilly weather our subjects feel.
She has the exceptional ability to create sophisticated yet understated, images that
evoke both a sense of realism and poetry. Through her pieces, she expresses her desire
to create art that portrays women beyond traditional beauty standards, saying “Not once I’ve
drawn women thinking they should only be ‘beautiful.’ My wish is to paint gem-like, clear, decorous
and sophisticated figures with no elements of vulgarity.” An important artist from the contemporary
age of Japan is the world-famous Yayoi Kusama. She born in Matsumoto, Japan and trained
at Kyoto City University of Arts. She spent her formative years in Japan but
was inspired by American Abstract expressionism. And so in 1958, she moved to New York City
and became a part of the vibrant Pop-Art movement. In the 1960s avant-garde art scene, Kusama
was a trailblazer as one of the first Japanese artists. Her willingness to openly discuss
her struggles with mental illness and her unique, eccentric style made her a standout
figure in the public eye. Emerging as an artist during a time of significant
social and cultural change in Japan, her works reflected this upheaval by exploring themes
of sexuality, femininity, and identity. She used unconventional materials and mediums
to challenge traditional artistic conventions. You might recognize one of her most popular
series, “Polka Dots.” These works are centred around dots that represent
the cosmos, infinity, and the interconnectedness of all things.
For Kusama, the dots are a cornerstone of her artistic career. Drawing from her own
hallucinatory experiences and her desire to immerse and hypnotize the audience.
They also serve as a unifying element across her diverse body of work, from paintings and
sculptures to installations and performances. Her use of polka dots played a pivotal role
in the evolution of Japan's art history, challenging the dominant male-centric art scene and contributing
to the rise of feminist and avant-garde art movements.
Through her exhibitions and collaborations with prominent artists and institutions in
the West, Kusama helped to bring Japanese contemporary art to the international stage. Japan's artistic legacy is a rich tapestry
of creativity that transcends traditional forms. The art of tattooing, bonsai carving,
Manga, and Kintsugi, all represent a sublime expression of the country's unique aesthetic.
Each and every art form form weaves a distinct thread into the fabric of Japan's artistic
tapestry, creating a stunning masterpiece that continue to inspire and captivate the
world. Capturing the hearts and minds of all who have the chance to experience it.
