Making modern Japanese-style painting : Kano Hōgai and the by Chelsea Foxwell PDF

By Chelsea Foxwell

ISBN-10: 022611080X

ISBN-13: 9780226110806

ISBN-10: 022619597X

ISBN-13: 9780226195971

The Western discovery of eastern work at nineteenth-century world’s gala's and export outlets catapulted eastern paintings to new degrees of overseas acceptance. With that acceptance, even though, got here feedback, as Western writers started to lament a perceived finish to natural jap paintings and an increase in westernized cultural hybrids. the japanese reaction: nihonga, a standard kind of portray that reframed present thoughts to differentiate them from Western creative conventions. Making sleek Japanese-Style Painting explores the visible features and social features of nihonga and lines its courting to the earlier, its audience, and rising notions of the fashionable jap state.

Chelsea Foxwell sheds gentle on interlinked traits in jap nationalist discourse, govt artwork coverage, American and eu observation on jap paintings, and the calls for of export. The seminal artist Kano Hogai (1828–88) is one telling instance: initially a painter for the shogun, his artwork finally developed into novel, eerie photographs intended to fulfill either jap and Western audiences. instead of easily soaking up Western methods, nihonga as practiced via Hogai and others broke with pre-Meiji portray whilst it labored to neutralize the rupture.

by way of arguing that basic alterations to viewers expectancies ended in the emergence of nihonga—a conventional interpretation of eastern artwork for a modern, overseas market—Making glossy Japanese-Style Painting offers a clean examine a huge element of Japan’s improvement right into a sleek nation.

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Extra resources for Making modern Japanese-style painting : Kano Hōgai and the search for images

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Meiji individuals actively posited discontinuities between themselves and the past. 95 As such, it has carried the legacy of certain Orientalist biases that need to be articulated if we are to more fully engage with Meiji cultural artifacts today. The notion of exhibitions as a negative force robbing images of their spiritual and aesthetic power originated outside Japan and did not immediately take hold among Japanese interlocutors. Okakura was embracing modernity when he recalled Kano Hōgai as asserting that art is the only religion he should ever need.

Position to his son, was able to complete a learned and time-­consuming endeavor that would have been nearly impossible for a self-­supporting artist who had trained since youth in the hierarchical setting of the large painting studio (fig. 44 For the yamato-­e revival painters Reizei Tamechika (1823–­1864) and Ukita Ikkei (1795–­1895), the study of ancient Japanese handscrolls was even more personal. These painters studied and copied works such as the Ban Dainagon emaki (Tale of Major Councillor Ban), Kasuga Gongen genki-­e (Miraculous Legends of the Kasuga Shrine Deity), and Hōnen shōnin eden (Illustrated Biography of the Priest Hōnen), investing the acquisition of ancient painting modes with historical and even political motives.

Kano Hōgai’s father Seikō (1797–­1867) trained in his youth in Seisen’in’s studio, and the works he executed in his home domain of Chōfu evince an interest in colorful, illusionistic Ming-­Qing painting. 5 Kano Seisen’in Osanobu, perpetuation of an orthodox Kano style, it would seem that Seikō, like his teacher, Falconry, late Edo period. 50 and color on silk; two-­panel folding screen. Itabashi Museum of Art. Many of the same trends were at work in Kyoto academic painting. 52 Several participants incorporated elements of Qing courtly painting.

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Making modern Japanese-style painting : Kano Hōgai and the search for images by Chelsea Foxwell


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