Art History- S2 week 6 - 12/08/2019
Japan Art
After negative experiences with 16th C. Portuguese and, later, 17th Century Dutch traders- would be colonisers- Japan closed its doors to Europeans, allowing only a very limited access, very tightly controlled by the Japanese. In 1852 Commodore Perry of the U.S. Navy was charged with opening up Japan to the world of European contact, trade and influence. This was finally achieved by Treaty at Kanagawa in 1854 in return for which the United States offered to train officers for a new Japanese Navy.The Japanese subsequently proved to be remarkably quick assimilators of European technologies while retaining their own cultural beliefs and practices.
Religion in Japan. Shinto and Buddhism are Japan’s major religions. Shinto is as old as Japanese culture, while Buddhism was imported from the mainland in the 6th Century. Since then the two religions have co-existed relatively harmoniously and have each accommodated aspects of the other to some degree.
Shinto has been defined as an ‘action’ religion which defines itself through adherence to protocols, rituals and respect for the ways and traditions of ancestors. About 80% of Japanese associate with Shinto and this emphasis on ‘manners’ and correct procedures may explain the deeply ingrained conservatism found in an older generation of Japanese.
Kami, or sacred essence, is a concept belonging to Shinto wherein veneration and respect belongs to all perceived phenomena; all creatures, the world of plants and rocks; the weather. It also conceives and respects Kami as being ‘spirits’, essences and, by extension, gods. It could be argued that Kami is in practice, a pantheism.
The six Buddhist sects that came to Japan from the mid 500’s are today recognised collectively as ‘Nara’ Buddhist. Shingon Buddhism arrived later. Shingon is close to Tibetan Buddhism inasmuch as it is conservative and monastic.
From the 13th Century when the Shogunate was established the most popular form of Buddhist practice was Zen. Nichren Buddhism was introduced from the 13th Century . It put emphasis on meditation practices .
In 1868 the Shogun declared Shinto to be the state religion in an attempt to eliminate Buddhist practices. This was only partially successful as Shinto and Buddhism have so much beliefs in common.
Blog task
- From the images on the following slides, identify a form of Japanese traditional art that resonates with you and your practice
- Write about the art form and include pictures
- Watch the talk by the Metropolitan Museum of Art (NYC) and discuss any issues that interest you on your blog
- Be prepared to share in class next week
Fudo Myo-O Wood
"Fudo Myo-O Wood, Heian period, 12th century Fudo Myo-O is depicted sometimes alone, sometimes as the foremost of the 'five Kings of Light' of the esoteric Shingon Buddhist sect, and sometimes with his two acolytes Kongara Doji and Shitaka Doji. The attributes of the deity are minutely described in a sutra of AD709. His fierce aspect shows his intolerance of wickedness, which he seeks out to chastise. The rope binds the illusory enemies of enlightenment, and the sword cuts through the illusory world revealing the "Kongotai", or ultimately real world. The sword hilt is in the form of a three barbed "vajra" symbolising the Buddha, the Lotus, and the "Kongotai" itself. Fudo's name, 'unmoving', indicates the unchanging nature of ultimate reality beneath the illusion of his warlike exterior. He is a patron deity for swordsmen.Smith et al 1990
Fudo Myo-O is depicted sometimes alone, sometimes as the foremost of the five 'Kings of Light' of the esoteric Shingon sect, and sometimes with his two acolytes Kongara Doji and Shitaka Doji. The attributes of the deity are minutely described in a Shingon 'sutra' (AD 709). His fierce aspect shows his intolerance of wickedness, which he seeks out to chastise. The earliest Japanese representations have both eyes wide open and two fangs showing. Later works have one eye half shut, and one fang is sometimes shown on each jaw either side of the mouth. The sword also serves to cut through the evils of the illusory world revealing the 'kongotai', or ultimately real world, and the rope binds the illusory enemies of enlightenment. The hilt of the sword is in the form of a 'sankosho', or three-pronged 'vajra', which is one of the ritual implements of esoteric Buddhism symbolising the Buddha, the Lotus and the kongotai itself. Fudo's name means 'Unmoving', indicating the unchanging nature of ultimate reality beneath the illusion of his warlike exterior. Considered a patron deity for swordsmen, he strove to achieve enlightenment beyond the illusion of life and death.
The piece is carved in 'ichiboku zukuri' style, the arms made separately.Zwalf 1985
Chief among the Vidyārājas (Myo-Ō), or personified spells and protectors of the Shingon sect, is Acala (Fudō or the Immoveable), whose attributes are a sword and rope. He symbolises spiritual steadfastness, and his fierceness his power to protect. The image is carved from one piece of wood with attached arms in the ‘ichiboku zukuri’ technique prevalent until the 13th century."
( https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=768004&partId=1)
Kawanabe Kyōsai, Female Ghost, a hanging scroll painting
"Together with Dancing Skeletons, this painting demonstrates Kawanabe Kyōsai's fascination with the macabre and the supernatural. This tendency was to a large degree shared by the nineteenth-century Japanese public. Many Kabuki plays of the time were peopled with restless spirits of the dead and live ghost story-telling was particularly popular at the height of summer when a cooling shiver down the spine would have been most welcome.
However, Kyōsai's love of the grotesque went even further. As a boy of eight, he is said to have fished a severed head from the river and taken it home to draw. In this painting we can almost hear the female ghost shrieking in triumph as she bears off the severed head. Cutting off a defeated enemy's head was the ultimate sign of victory in battle, but here, she even has blood dripping from her gaping fangs: the unthinkable suggestion is that she has actually bitten off this head. The ghost glides upwards on wisps of cloud in her shroud-like gown, tearing at her hair and glaring from her green, gold-hooded eyes. The peacefully resigned downward cast of the head's closed eyes somehow only increases the horror.
The origin of this fearful incident has not yet been traced, but the theme recurs in a painting by Kyōsai's contemporary, Kawakami Tōgai (1827-81). Another painting by Kyōsai shows a male ghost with a severed female head hanging by the hair from his teeth.
The singature reads 'Seisei Kyōsai' followed by a hand-written cypher (kaō), both done in gold paint.
Details
Title: Kawanabe Kyōsai, Female Ghost, a hanging scroll painting
Date Created: 1871/1889
Physical Dimensions: Height: 106.80cm; Width: 37.70cm
External Link: British Museum collection online
Technique: painted
Subject: ghost
Registration number: 1996,1010,0.1
Production place: Painted in Tokyo-to
Producer: Painted by Kyosai, Kawanabe
Period/culture: Meiji Era
Material: gold
Copyright: Photo: © Trustees of the British Museum
Acquisition: Purchased from Syz, Patrick. With contribution from Art Fund"
( https://artsandculture.google.com/asset/kawanabe-ky%C5%8Dsai-female-ghost-a-hanging-scroll-painting/3QHiwT2PHLQdgw )
Kawanabe Kyōsai, Susano'o no Mikoto subduing the eight-headed serpent
"In Shintō mythology Susano'o was the younger brother of the sun goddess Amaterasu. The legend goes that as a result of his unruly behaviour, Amaterasu hid herself in a cave, thus bringing darkness and winter to the world. Susano'o was banished from the High Celestial Plain to Izumo Province in western Japan. Here he killed the eight-headed and eight-tailed serpent (yamata no orochi) and rescued Princess Kushinada. Afterwards he found in the dragon's tail the sword which later became part of the regalia of the Japanese Imperial family.
This painting shows the god in a setting of storm-blown trees, sheer cliffs and raging waves. We see him balanced on the cliff edge, brandishing his sword. Only as we follow his gaze do we see the staring eyes of the giant serpent in the waters beneath.
The art historian Yamaguchi Seiichi has suggested that this painting is symbolic of the triumph of Shint&omacr over Buddhism at a time (the early Meiji era) when Buddhism was suffering severe persecution. However, Kyōsai (1831-89) is thought to have been a devout Buddhist.
A small preparatory drawing for this painting is in the collection of the Kawanabe Kyōsai Memorial Museum, Warabi City, Saitama Prefecture, Japan.
The signature reads 'Seisei Kyōsai' but the seal is too faint to be legible.
Details
Title: Kawanabe Kyōsai, Susano'o no Mikoto subduing the eight-headed serpent, a hanging scroll painting
Date Created: 1871/1889
Physical Dimensions: Height: 100.40cm; Width: 29.700cm; Height: 184.00cm (mount); Width: 44.00cm (mount)
External Link: British Museum collection online
Technique: painted
Subject: myth/legend; religion/belief
Registration number: 1969,0414,0.1
Production place: Painted in Japan
Producer: Painted by Kyosai, Kawanabe
Period/culture: Meiji Era
Material: silk
Copyright: Photo: © Trustees of the British Museum
Acquisition: Purchased from Kegan, Paul & Co. From Sotheby's. Previous owner/ex-collection Conder, Josiah"
( https://artsandculture.google.com/asset/kawanabe-ky%C5%8Dsai-susano-o-no-mikoto-subduing-the-eight-headed-serpent-a-hanging-scroll-painting/oAGoYCjOIfY-FQ )
"Fudo Myo-O Wood, Heian period, 12th century Fudo Myo-O is depicted sometimes alone, sometimes as the foremost of the 'five Kings of Light' of the esoteric Shingon Buddhist sect, and sometimes with his two acolytes Kongara Doji and Shitaka Doji. The attributes of the deity are minutely described in a sutra of AD709. His fierce aspect shows his intolerance of wickedness, which he seeks out to chastise. The rope binds the illusory enemies of enlightenment, and the sword cuts through the illusory world revealing the "Kongotai", or ultimately real world. The sword hilt is in the form of a three barbed "vajra" symbolising the Buddha, the Lotus, and the "Kongotai" itself. Fudo's name, 'unmoving', indicates the unchanging nature of ultimate reality beneath the illusion of his warlike exterior. He is a patron deity for swordsmen.Smith et al 1990
Fudo Myo-O is depicted sometimes alone, sometimes as the foremost of the five 'Kings of Light' of the esoteric Shingon sect, and sometimes with his two acolytes Kongara Doji and Shitaka Doji. The attributes of the deity are minutely described in a Shingon 'sutra' (AD 709). His fierce aspect shows his intolerance of wickedness, which he seeks out to chastise. The earliest Japanese representations have both eyes wide open and two fangs showing. Later works have one eye half shut, and one fang is sometimes shown on each jaw either side of the mouth. The sword also serves to cut through the evils of the illusory world revealing the 'kongotai', or ultimately real world, and the rope binds the illusory enemies of enlightenment. The hilt of the sword is in the form of a 'sankosho', or three-pronged 'vajra', which is one of the ritual implements of esoteric Buddhism symbolising the Buddha, the Lotus and the kongotai itself. Fudo's name means 'Unmoving', indicating the unchanging nature of ultimate reality beneath the illusion of his warlike exterior. Considered a patron deity for swordsmen, he strove to achieve enlightenment beyond the illusion of life and death.
The piece is carved in 'ichiboku zukuri' style, the arms made separately.Zwalf 1985
Chief among the Vidyārājas (Myo-Ō), or personified spells and protectors of the Shingon sect, is Acala (Fudō or the Immoveable), whose attributes are a sword and rope. He symbolises spiritual steadfastness, and his fierceness his power to protect. The image is carved from one piece of wood with attached arms in the ‘ichiboku zukuri’ technique prevalent until the 13th century."
( https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=768004&partId=1)
Kawanabe Kyōsai, Female Ghost, a hanging scroll painting
"Together with Dancing Skeletons, this painting demonstrates Kawanabe Kyōsai's fascination with the macabre and the supernatural. This tendency was to a large degree shared by the nineteenth-century Japanese public. Many Kabuki plays of the time were peopled with restless spirits of the dead and live ghost story-telling was particularly popular at the height of summer when a cooling shiver down the spine would have been most welcome.
However, Kyōsai's love of the grotesque went even further. As a boy of eight, he is said to have fished a severed head from the river and taken it home to draw. In this painting we can almost hear the female ghost shrieking in triumph as she bears off the severed head. Cutting off a defeated enemy's head was the ultimate sign of victory in battle, but here, she even has blood dripping from her gaping fangs: the unthinkable suggestion is that she has actually bitten off this head. The ghost glides upwards on wisps of cloud in her shroud-like gown, tearing at her hair and glaring from her green, gold-hooded eyes. The peacefully resigned downward cast of the head's closed eyes somehow only increases the horror.
The origin of this fearful incident has not yet been traced, but the theme recurs in a painting by Kyōsai's contemporary, Kawakami Tōgai (1827-81). Another painting by Kyōsai shows a male ghost with a severed female head hanging by the hair from his teeth.
The singature reads 'Seisei Kyōsai' followed by a hand-written cypher (kaō), both done in gold paint.
Details
Title: Kawanabe Kyōsai, Female Ghost, a hanging scroll painting
Date Created: 1871/1889
Physical Dimensions: Height: 106.80cm; Width: 37.70cm
External Link: British Museum collection online
Technique: painted
Subject: ghost
Registration number: 1996,1010,0.1
Production place: Painted in Tokyo-to
Producer: Painted by Kyosai, Kawanabe
Period/culture: Meiji Era
Material: gold
Copyright: Photo: © Trustees of the British Museum
Acquisition: Purchased from Syz, Patrick. With contribution from Art Fund"
( https://artsandculture.google.com/asset/kawanabe-ky%C5%8Dsai-female-ghost-a-hanging-scroll-painting/3QHiwT2PHLQdgw )
Kawanabe Kyōsai, Susano'o no Mikoto subduing the eight-headed serpent
"In Shintō mythology Susano'o was the younger brother of the sun goddess Amaterasu. The legend goes that as a result of his unruly behaviour, Amaterasu hid herself in a cave, thus bringing darkness and winter to the world. Susano'o was banished from the High Celestial Plain to Izumo Province in western Japan. Here he killed the eight-headed and eight-tailed serpent (yamata no orochi) and rescued Princess Kushinada. Afterwards he found in the dragon's tail the sword which later became part of the regalia of the Japanese Imperial family.
This painting shows the god in a setting of storm-blown trees, sheer cliffs and raging waves. We see him balanced on the cliff edge, brandishing his sword. Only as we follow his gaze do we see the staring eyes of the giant serpent in the waters beneath.
The art historian Yamaguchi Seiichi has suggested that this painting is symbolic of the triumph of Shint&omacr over Buddhism at a time (the early Meiji era) when Buddhism was suffering severe persecution. However, Kyōsai (1831-89) is thought to have been a devout Buddhist.
A small preparatory drawing for this painting is in the collection of the Kawanabe Kyōsai Memorial Museum, Warabi City, Saitama Prefecture, Japan.
The signature reads 'Seisei Kyōsai' but the seal is too faint to be legible.
Details
Title: Kawanabe Kyōsai, Susano'o no Mikoto subduing the eight-headed serpent, a hanging scroll painting
Date Created: 1871/1889
Physical Dimensions: Height: 100.40cm; Width: 29.700cm; Height: 184.00cm (mount); Width: 44.00cm (mount)
External Link: British Museum collection online
Technique: painted
Subject: myth/legend; religion/belief
Registration number: 1969,0414,0.1
Production place: Painted in Japan
Producer: Painted by Kyosai, Kawanabe
Period/culture: Meiji Era
Material: silk
Copyright: Photo: © Trustees of the British Museum
Acquisition: Purchased from Kegan, Paul & Co. From Sotheby's. Previous owner/ex-collection Conder, Josiah"
( https://artsandculture.google.com/asset/kawanabe-ky%C5%8Dsai-susano-o-no-mikoto-subduing-the-eight-headed-serpent-a-hanging-scroll-painting/oAGoYCjOIfY-FQ )
For his 1926 season of Gilbert and Sullivan operas, Rupert D'Oyly Carte asked Charles Ricketts, R.A., to provide new costume designs for The Mikado.
Ricketts was a front-rank English artist who had lived in Japan and who was an authority on Japanese costume and art. Whilst closely following Japanese tradition, Ricketts allowed himself some liberties such as the suggestion of "a big black block" in the shape of the Executioner's hat and he also dressed the Mikado as a Shogun, or principal representative of the Emperor, rather than as the Emperor himself.
At the time, the new costumes did not meet with universal approval from traditionalists, but the designs (though not the original costumes) remained in use until the D'Oyly Carte Opera Company closed in 1982.
In a press interview, Ricketts said:
I have been severely criticized for redressing The Mikado. But the original setting of The Mikado contains nothing which it is essential to preserve. The piece was staged in a great hurry at its first appearance, and the dressing of it was given into the hands of a costumier who was told to do the best he could. Little was known at the time about Japanese dress, and the result was a production in which the costumes looked like kimonos. The new dresses I have chosen belong to a period — about 1720 — when the national costume was especially beautiful. The girls' dresses in particular were very bright and gay. Therefore there is nothing to lose by making the costumes conform to that period. Indeed the increased artistic effect alone justifies the heavy expense.
Horikiri Iris Garden (Horikiri no Hanashobu), No. 64 from One Hundred Famous Views of Edo
Horikiri Iris Garden (Horikiri no Hanashobu), No. 64 from One Hundred Famous Views of Edo
The village of Horikiri was known for producing flowers for the Edo market. While the gardeners of Horikiri grew a year-round variety of flowers, the fame of the place derived from the flower represented here, a type of iris known as hanashobu that was ideally suited to the area's swampy land. In the immediate foreground are three carefully detailed specimens. In the distance, sightseers from Edo may be seen admiring the blossoms. Hiroshige noted that so many lovely women from Edo came to view the blossoms that it was difficult to distinguish which were the real flowers.
MEDIUM Woodblock print
DATES 5th month of 1857
PERIOD Edo Period, Ansei Era
DIMENSIONS Sheet: 14 3/16 x 9 5/16 in. (36.1 x 23.6 cm) Image: 13 1/4 x 8 3/4 in. (33.7 x 22.3 cm) (show scale)
MARKINGS No publisher's seal visible, probably lost when left margin was trimmed.
SIGNATURE Hiroshige-ga
COLLECTIONS Asian Art
MUSEUM LOCATION This item is not on view
ACCESSION NUMBER 30.1478.64
CREDIT LINE Gift of Anna Ferris
RIGHTS STATEMENT No known copyright restrictions
CAPTION Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Horikiri Iris Garden (Horikiri no Hanashobu), No. 64 from One Hundred Famous Views of Edo, 5th month of 1857. Woodblock print, Sheet: 14 3/16 x 9 5/16 in. (36.1 x 23.6 cm). Brooklyn Museum, Gift of Anna Ferris, 30.1478.64 (Photo: Brooklyn Museum, 30.1478.64_large_SL1.jpg)
IMAGE overall, 30.1478.64_large_SL1.jpg. Brooklyn Museum photograph
CATALOGUE DESCRIPTION In the village of Horikiri in suburban Edo, gardeners grew a year-round variety of flowers and were particularly famous for the iris shown here, "hanashobu," well suited to this swampy land. In this print Hiroshige has shown three, almost-life-size, detailed specimens of the nineteenth-century hanashobu hybrids and in the distance, sightseers from Edo are admiring the blossoms. In the 1870's the cultivation of hanashobu had begun to spread rapidly in Europe and America and the developed into a booming export market for the gardeners of Horikiri. The Horikiri plantations began to wane in the 1920's and eventually turned over to wartime food production. After the war, one of them was revived and is now a public park, particularly popular in May when the flowers are in bloom.
( https://www.brooklynmuseum.org/opencollection/objects/121670)
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