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Pierre Bonnard and Japanese art: powerful thought patterns of Bonnard

Pierre Bonnard and Japanese art: powerful thought patterns of Bonnard

Lee Jay Walker

Modern Tokyo Times

Pierre Bonnard was born in 1867 in France which was one year before the Meiji Restoration in Japan. His father had hoped that Bonnard would become a barrister but clearly Bonnard was destined for the art world. In the early 1890s Bonnard met the enigmatic Henri de Toulouse-Lautrec and throughout this decade his art would develop greatly.

Bonnard stated that “The artist who paints the emotions creates an enclosed world… the picture… which, like a book, has the same interest no matter where it happens to be. Such an artist, we may imagine, spends a great deal of time doing nothing but looking, both around him and inside him.” 

In 1890 it is reported that Bonnard truly came into touch with Japanese art despite first admiring this art form from the late 1880s. From this point onwards the richness of Japanese ukiyo-e remained within his artistic soul. Therefore, Bonnard would collect Japanese art throughout the rest of his lifetime. It must be stated that Japonisme (Japonism) was in vogue in the later part of the nineteenth century within powerful artistic circles. However, the first notable period of the growing influence of Japanese art within the Western artistic consciousness can be traced back to the 1860s. In saying that, the development of Japonism was exceptionally powerful in the last three decades of the nineteenth century.

Other artists who adored Japanese ukiyo-e includes Paul Gauguin, Vincent Van Gogh, Edgar Degas, Claude Monet, Toulouse-Lautrec, Pierre Auguste-Renoir, Camille Pissarro, Mary Cassatt, and many other artists including James Abbot McNeill Whistler. Therefore, Bonnard was following in the footsteps of many artists outside of Japan who fell in love with the rich traditions of ukiyo-e.

Bonnard stated that “Painting has to get back to its original goal, examining the inner lives of human beings.” He also commented that Art will never be able to exist without nature” and that “You cannot possibly invent painting all by yourself.”

Bonnard was a member of an important artistic group during the most formative years of his art. This group was called Nabis which means prophet in the Hebrew language. Other significant members of Nabis include Maurice Denis and Edouard Vuillard. The artists within this group were inspired by new thinking and approaches to art. Therefore, a more personal and extremely decorative style was “set in stone” within an abstract style which was most rewarding.

The nickname of Bonnard highlights the power of Japanese ukiyo-e because he was called the “le Nabi tres Japonard.” It is clear that this nickname was cherished by Bonnard because it means “the ultra-Japanese Nabi.” His art studio also was further evidence of the power of ukiyo-e because individuals who visited him noted paintings by Hiroshige, Kunisada and Kuniyoshi.

Bonnard like Paul Gauguin and other notable artists was a deep thinker. He commented to Henri Mattisse that‘I agree with you that the painter’s only solid ground is the palette and colors, but as soon as the colors achieve an illusion, they are no longer judged, and the stupidities begin’ — stupidities, such as worrying about the correctness of a reflection?”

If “a reflection” of the art work of Bonnard is going to be focused on then the “reflection of Japanese art” can’t be ignored. Of course, just like the Nabi group and his deep thinking towards art, no single event or artistic movement can describe Bonnard. He was a free thinker during his youth and clearly Japanese art was one aspect of this rich artist who was blessed with amazing artistic skills. Likewise, the influence of Paul Gauguin and Stephane Mallarme, who was a Symbolist poet, entered his consciousness but Bonnard was never interested in following any concept which constrained his approach to art.

Bonnard stated that …when I and my friends adopted the Impressionists’ color programme in order to build on it we wanted to go beyond naturalistic color impressions – art, however, is not nature – We wanted a more rigorous composition. There was also so much more to extract from color as a means of expression. But developments ran ahead, society was ready to accept Cubism and Surrealism before we had reached what we had viewed as our ami…In a way we found ourselves hanging in mid air…”

The Santa Barbara Museum of Art responds to the above comment by stating that “Thus, the irony was that Impressionism was both a starling point and a trap for Bonnard. Yet it is acknowledged that Bonnard was not hostile to modern developments in art, rather he simply absorbed what he needed for his own experiments with color and form. As a result, Bonnard is in some ways a deceptive artist because his experiments were far more radical than one may realize at first glance.”

This article provides a brief glimpse into the importance of Japanese ukiyo-e for Bonnard. However, it is hoped that individuals will be inspired by the beauty of his art and the thought-patterns which meant so much to Bonnard.

http://www.sbmadocents.org/Collections/European%20Collection/Bonnard.html

leejay@moderntokyotimes.com

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Posted by on July 12, 2012 in EUROPE, Japan

 

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Henri de Toulouse-Lautrec and Japanese ukiyo-e

Henri de Toulouse-Lautrec and Japanese ukiyo-e

Lee Jay Walker

Modern Tokyo Times

Henri de Toulouse-Lautrec (1864-1901) adored Japanese ukiyo-e and many famous international artists also fell in love with this art form. Toulouse-Lautrec and his lifestyle would certainly have fit in well with the environment of Yoshiwara in Tokyo, which is famous for prostitution. Indeed, several ukiyo-e artists depicted scenes in this famous district including Hiroshige and Utamaro. Therefore, Toulouse-Lautrec would have felt like being “home from home” because Yoshiwara and Montmartre shared many common features in the past.

Rene Princeteau gave art lessons to Toulouse-Lautrec when he was young and the background of his family is one of wealth. Indeed, he was born into an aristocratic family but tragedy impinged on Toulouse-Lautrec when he was a teenager because he broke both legs. The severity of the accidents meant that his legs stopped growing and this created “many internal demons.” This is based on the fact that his body continued to develop like normal therefore throughout his short life he could never fully come to terms with this situation.

The artistic turning point for Toulouse-Lautrec came in 1882 because he went to Paris in order to study conventional art. He soon met important artists like Vincent Van Gogh and the art of Edgar Degas inspired him greatly in this period. Therefore, the lore of Impressionist art enticed him greatly and because of this he gave up his studies in conventional art.

Toulouse-Lautrec who was born in the south of France now found himself in Montmartre in Paris. The environment was completely different because this area had a buzzing nightlife across the whole spectrum. This applies to cabarets, restaurants, dancing clubs with sexual connotations, cafes, brothels, and other areas of life.

The trappings of this new environment enticed Toulouse-Lautrec because he soon joined the bohemian community. During the evening period he would drink and natter with friends. However, despite enjoying himself Toulouse-Lautrec would also draw sketches and then work on altering these by turning them into lithographs and paintings. This became most rewarding for Toulouse-Lautrec because the environment created passion, innovation, and ideas, which were then expressed through his artwork.

Dieter Wanczura, www.artelino.comcomments that “The lithographs of Lautrec show the famous personalities of the French Belle Epoque. Lautrec knew them all personally- singers and dancers like Yvette Guilbert, May Belfort, Jane Avril or the poet Aristide Bruant. Many of these lithographs were commissioned by these artists for posters or theater billboards or as illustrations for magazines.”

Dieter Wanczura further comments that “The impressionists saw Ukiyo-e art (Japanese woodblock prints) and were impressed. And like so many other artists of the late nineteenth century, Lautrec had started collecting Japanese art. At that time, everything Japanese was en vogue – very fashionable.”

“Japanese printmaking had a very pervasive influence on his style. For Toulouse Lautrec movement and forms were important. His compositions, unusual perspectives and the use of large areas of flat color are undoubtedly inspired by Japanese woodblock prints.”

Western art impacted on Japanese art in the same period and likewise the Paris scene was awash with ukiyo-e prints. Therefore, new ideas were going in both directions but cultural differences meant that aspects of the cultural settings were very different. Also, individual artists, irrespective of nationality, had unique aspects which applied to their respective thought patterns and upbringings.

Artists like Van Gogh, Claude Monet, Paul Gauguin, Toulouse-Lautrec, Edgar Degas, and many others, were influenced by Japonisme (Japonism). However, Japonisme was based on the eye and not the concept or rich traditions which had evolved in Japan. Also, ukiyo-e is extremely broad when it comes to subjects that were covered and individual artists had their own unique styles and ways. Yet despite this, Japonisme certainly inspired many artists and for Toulouse-Lautrec ukiyo-e was like Montmartre. This applies to opening-up a new world of art and thought patterns, which would enhance his creativity and style.

If you visit that Van Gogh (www.vangoghgallery.com) Gallery website it is stated that “Japanese art, especially Japanese woodcuts, became a great influence on Van Gogh. When Van Gogh moved to Paris in 1886 he was introduced to impressionism and also explored Japonism. Van Gogh admired the bold designs, intense colors, and flat areas of pure color and he also appreciated the elegant and simple lines.”

It is abundantly clear that Toulouse-Lautrec would fully understand the words of Van Gogh because he was also transformed in Paris. In another article I wrote about Japanese art I comment that Ukiyo-e and western art went in both directions but the initial contact period will have been based on a mirror which can’t fully show the complexion of the individual because of all the steam. Irrespective of this, it is clear that both traditions led to new creativity.”

Sadly, for Toulouse-Lautrec, the lifestyle that altered his artistic path in Paris also became self destructive. Therefore, alcohol abuse and other negative areas all climaxed in his early death at the age of 36. In many ways Toulouse-Lautrec always had “two worlds which were pulling in opposite directions.” The first world applies to coming from a wealthy family but having poor health for the majority of his life. While the second world applies to being extremely creative because of the environment of Paris but the same environment led to his early death based on alcohol abuse and other factors.

Irrespective of everything, Toulouse-Lautrec leaves a lasting legacy because of the richness of his art and he also opens up the world of Montmartre.

 

http://www.artelino.com/articles/toulouse_lautrec.asp

leejay@moderntokyotimes.com

http://moderntokyotimes.com

 
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Posted by on May 4, 2012 in EUROPE, Japan

 

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Japanese art and Asai Chu: the eclipse of ukiyo-e by western style art

Japanese art and Asai Chu: the eclipse of ukiyo-e by western style art

Modern Tokyo Times

Lee Jay Walker

 

The Meiji Restoration of 1868 led to many social convulsions and like all revolutionary periods you had many winners and losers. This applies to individuals who could adapt to the rapid changes in society and the art world was no exception in Japan. Asai Chu (1856-1907) belonged to this changing world. However, in some ways he was lucky because he was young enough to understand these momentous events in Japanese history.

The old world of ukiyo-e would become eclipsed in the lifetime of Asai Chu despite some amazing Meiji ukiyo-e artists. Not surprisingly, Asai Chu became involved in the new wave of Japanese art which was heavily influenced by Western style artists. Of course, it wasn’t all one way because many Western artists like Van Gogh, Paul Gauguin, Claude Monet, Edgar Devas, James Abbott McNeill Whistler, Mary Cassatt, Henri de Toulouse-Lautrec, and many others, adored ukiyo-e and Japanese style paintings.

However, the technological developments of photography and other areas meant that ukiyo-e could not compete on a level playing field based on modernization alone. Also, different cultural influences and Japanese artists living abroad meant that new dynamics were at work. This implies that while technological change speeded up the artistic transition, the old order would have been usurped anyway because of cultural interaction and changing thought patterns. Therefore, for individuals like Asai Chu these were exciting times.

Ironically, the Meiji period did witness many fantastic ukiyo-e artists and it is because of these individuals that it managed to cling on for so long. Notable Meiji ukiyo-e artists include Yoshitoshi, Chikanobu, Kobayashi Kiyochika, Ogata Gekko, Kawanabe Kyosai, Toyohara Kunichika, Utagawa Yoshifuji, Mizuno Toshikata, Ginko Adachi, and several others. However, they were swimming “against the tide” despite their collective skills blessing the art world and enriching Japanese art.

Traces of the old world survived in modern Japan through new movements like shin-hanga but this area was limited when compared with the days of Hokusai, Hiroshige, Utamaro, and many other amazing artists, who belonged to the world of ukiyo-e. However, this isn’t to underestimate the shin-hanga movement because it produced many stunning artists like Ito Shinsui, Hiroshi Yoshida, and Kawase Hasui (to name just a few). Also, the bridge of the shin-hanga movement meant that “the shadow” of the old world was ticking but fused with new changes and thinking within this intriguing art form.

Asai Chu blossomed under Kunisawa Shinkuro and he was lucky enough to study under Antonio Fontanesi. The reason why he had this opportunity was because of the Meiji elites who wanted to transport the best of the Western world and fuse this with the best of Japan. Therefore, in the area of science, the arts, law, industrialization, military thinking, commerce, political systems, and so forth, the power of the West became embodied within the psyche of the new Japan. Of course, while new thought patterns emerged, the power of Japanese culture and different thought patterns meant that you had a lot of fusions. Therefore, in certain areas “a new way” emerged based on Japanization.

In an earlier article I stated that “The Meiji government hired Antonio Fontanesi in order that he would introduce oil painting from Europe and clearly Asai Chu learnt much because his passion and sophistication grew. When Asai Chu was in his forties he resigned from being a professor in Tokyo and moved to France for two years. This decision was wise because by studying at an impressionist art school he managed to enhance his artistic skill and techniques.”

“Also, the cultural aspect of studying in France meant that new styles of thinking and artistic creativity would further enrich his rich talents. This decision also shows that Asai Chu was still searching and despite the relative comfort of being a professor in Tokyo he was willing to take risks in order to pursue his love of art.”

The inquisitive nature of Asai Chu and his love of art meant that France would enhance him personally, and in turn he would influence many important Japanese artists when he returned home. This must have pleased the Meiji leaders who were involved in the arts because the younger generation of aspiring artists had an individual to look up. This is based on his stunning art and the rich knowledge that he had obtained in Japan and France.

Therefore, artists like Yasui Sotaro, Suda Kunitaro, Umehara Ryuzaburo, and many others, learnt many things from Asai Chu. On returning to Japan he became a professor at Kyoto College of Arts and Crafts and because of his enthusiasm for art, he was involved in many clubs related to this field. Therefore, just like the dynamic Meiji period it is abundantly clear that Asai Chu was equally creative and vigorous.

In my earlier article about Asai Chu and the role of the Meiji political leadership, I comment that “Meiji political leaders impacted on art in this period and introduced new art forms from outside of Japan. However, at the same time political leaders were concerned about preserving the richness of Japanese art and culture. This minefield wasn’t easy and conservatives and liberals understood what was at stake but for individuals like Asai Chu the issue was “art” and not politics or cultural engineering.”

Ukiyo-e was clearly on “borrowed time” because of the prevailing conditions and artists like Asai Chu re-invigorated Japanese art. The shin-hanga movement meant that the power of ukiyo-e was kept alive for many decades throughout the twentieth century. It matters not that the thought patterns, concepts, and art, were very different because the link is evidently clear for all to see.

However, the world of Asai Chu would impact greatly on Japanese art because so many other fellow nationals were inspired by Western art. However, in truth, each new movement will one day be eclipsed by new concepts, styles, and thinking. Therefore, the diversity of Japanese art is blessed by each special art movement irrespective if the roots began in Japan, China, France, Holland, or wherever.

leejay@moderntokyotimes.com

http://moderntokyotimes.com

 
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Posted by on May 4, 2012 in EUROPE, Japan

 

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Japanese art and Van Gogh: Japonisme, ukiyo-e and world religions

Japanese art and Van Gogh: Japonisme, ukiyo-e and world religions

Lee Jay Walker

Modern Tokyo Times

Art like religion is based on fusions because once the original art work or religion leaves the place it was born then new identities emerge. Also, prior to the fusion which takes place then images, ideas, borrowed thinking, and so forth, will emerge and a new philosophy or art form will borrow from the past. Therefore, artists like Van Gogh, Claude Monet, Paul Gauguin, and many more, who were influenced by Japonisme (Japonism), also fused their artwork based on realities that belonged to their world.

Mecca and the religion of Islam was born on Arab Paganism because Mecca was a holy place which existed well before the religion espoused by Mohammed. Not only this, but walking around a black stone many times clearly highlights animism and the same applies to many other areas. Judaism likewise borrowed from the Pagan world where Jews struggled to survive in a harsh and brutal world where war was all too common.

Similarly, the new Christian faith soon spread therefore Pagan Europe and Africa would leave a deep impact once the religion left the Middle East. New centers of Christianity in Armenia, Ethiopia, Egypt, Georgia, Syria, and other parts of the world, had rich traditions and just like Judaism and Islam the older Pagan world would influence many festivals and so forth.

The same applies to the deep-rooted Paganism of Tibetan Buddhism which often appears un-Buddhist because of the superstitious nature of many traditions. Indeed, the Buddha himself who never believed in a deity would probably be confused by the ritualism of Tibetan Buddhism. This isn’t unique to Tibetan Buddhism because all over the world you will have strong cultural traits which have left traces of past cultures and religions. Indeed, in Japan it is common for many individuals to have been blessed by the Shinto faith when very young, then get married under Christian traditions, and finally to die Buddhist.

Art and religion are two powerful areas whereby the old world survives or both can clash and compete.  After all, a member of the Van Gogh bloodline was murdered in 2004 in Holland by an Islamist because of making a film about Islam. Therefore, clashes of culture, religion, political ideas, and art, remain to be potent themes in many nations and Theo Van Gogh was murdered because of extremism in a democratic nation.

Also, when political or religious movements try to crush past culture and ideas then collective madness often takes place whereby freedom is crushed and the old world is destroyed. This notably applies to the Taliban world view and Pol Pot in the past in Cambodia because “year zero” and “year Mohammed” led to the crushing of all different thought patterns.

Therefore, Japonisme was based on the eye and not the concept or rich traditions which had evolved in Japan. Jules Claretie and Philippe Burty used the word Japonisme (Japonism) in the 1870s and the word applies to the influence of Japanese art and culture in this period of history on Western art.

On the Website of Artelino (www.artelino.comit is stated that “The term Japonisme came up in France in the seventies of the 19th century to describe the craze for Japanese culture and art. Van Gogh like so many other Impressionist and Post-Impressionist artists was one of the admirers of Japanese art. The Japanese influence is obvious in his art work.”

In the 1860s ukiyo-e became very popular in the art world and Post-Impressionists and Impressionist artists marveled at the many aspects of this art form. Also, the abundance of ukiyo-e and the variety of artists who produced this art form meant that western artists were rightly influenced. This applies to the richness of ukiyo-e and the variety of subject areas which opened-up a new art world in Europe and North America.

On the Van Gogh Gallery (www.vangoghgallery.comit is commented that “Japanese art, especially Japanese woodcuts, became a great influence on Van Gogh. When Van Gogh moved to Paris in 1886 he was introduced to impressionism and also explored Japonism. Van Gogh admired the bold designs, intense colors, and flat areas of pure color and he also appreciated the elegant and simple lines.”

“In 1887, Van Gogh made copies of two designs of Hiroshige, a Japanese landscape printmaker. One print was The Bridge in the Rain. Van Gogh copied the scene from a woodcut by Hiroshige. He filled the borders with calligraphic figures that he borrowed from other Japanese prints. Flowering Plum Tree is the other print by Hiroshige which Van Gogh copied. Another print that Van Gogh created in the same fashion is The Courtesan based on a piece by Japanese artist, Kesai Eisen. Van Gogh also gave this piece a frame with motifs from other Japanese prints. The difference between the originals and Van Gogh’s copies can be seen in the use of color. Van Gogh used brighter colors with more enhanced contrasts.”

The fact that Van Gogh based the above three art works on Hiroshige and Eisen may indicate that the more experimental and mysterious ukiyo-e world was not fully known to Van Gogh?  This is speculation because it could well be that Van Gogh preferred more conventional ukiyo-e. Therefore, like mentioned about the fusions of religion earlier it could well be that western artists were focused on limited aspects of ukiyo-e and this applies to areas which were transferable.

Van Gogh stated that “I envy the Japanese artists for the incredible neat clarity which all their works have. It is never boring and you never get the impression that they work in a hurry. It is as simple as breathing; they draw a figure with a couple of strokes with such an unfailing easiness as if it were as easy as buttoning one’s waist-coat.”

Dieter Wanczura comments that All things Japanese were suddenly stylish and fashionable. Shops selling Japanese woodblock prints, kimonos, fans and antiquities popped up in Paris like mushrooms. The Impressionist painters and Post-Impressionists like Claude MonetEdgar Degas, Toulouse-Lautrec or Paul Gauguin were attracted and impressed by Japanese woodblock prints. In 1875 Claude Monet created his famous painting La Japonaise, showing his wife dressed in a Kimono and holding a Japanese fan.”

Ukiyo-e and western art went in both directions but the initial contact period will have been based on a mirror which can’t fully show the complexion of the individual because of all the steam. Irrespective of this, it is clear that both traditions led to new creativity and for artists like Van Gogh the art form of ukiyo-e was very important in the later part of his life.

http://www.artelino.com/articles/van_gogh_japonisme.asp

http://www.vangoghgallery.com/influences/japonisme.html

leejay@moderntokyotimes.com

http://moderntokyotimes.com

 
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Posted by on February 4, 2012 in EUROPE, Japan

 

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Japanese art and culture: Ukiyo-e and a spirit without boundaries

Japanese art and culture: Ukiyo-e and a spirit without boundaries

Lee Jay Walker

Modern Tokyo Times

The amazing aspect of ukiyo-e is that nothing is hidden and you can witness stunning landscapes, the world of sinister ghosts, elegant fashion, beautiful ladies, murders, military ventures, holy religious leaders, strong images of sexuality whereby nothing is deemed beyond the pale, and then return to aspects of culture and amazing images of Mount Fuji. Therefore, the spirit of ukiyo-e is alive and kicking in new creative forms like manga and fresh authors who desire to open-up a new world.

Asai Ryoi commented in his novel called Tales of the Floating World (Ukiyo-monogatari) in 1661 that“Living only for the moment, savoring the moon, the snow, the cherry blossoms and the maple leaves, singing songs, loving sake, women and poetry, letting oneself drift, buoyant and carefree, like a gourd carried along with the river current.” This definition certainly seemed to apply to some ukiyo-e artists but like all art forms you have a hidden depth which is often neglected and the meaning of images isn’t always transcended from culture to culture. The same also applies to the written word and you also had a natural monetary survival mechanism within ukiyo-e therefore it was important to relate to the world that they came from.

The original meaning of ukiyo was based on pessimism which could be felt within aspects of Buddhism and stratification in old Japan. Karma may have many angles but for the masses it was often viewed alongside pessimism and related to past deeds. However, by the seventeenth century the word had been transformed and now became linked to stylish pleasure whereby the soul was freed from the burden of “a higher being.”

Dieter Wanczura comments that “The first ukiyo-e was produced in black and white in the seventeenth century. There was however a demand for color and the first colored prints were produced by adding coloring to the finished b/w print with a brush. But that was too expensive and time-consuming. Okomura Masanobu and Suzuki Harunobu are said to have been the first to introduce multi-color prints by using more than one block – one block for each different color.”

“Ukiyo-e during its time was not considered as fine art but rather as commercial art. These woodblock prints were largely commissioned by the Kabuki and Noh-Theaters and by actors as a form of advertising. It was not before the twentieth century that the Japanese began regarding Japanese woodblock prints as an art form worth collecting. The Europeans, mainly the Dutch and the French, discovered the Japanese prints and their artistic value at the end of the nineteenth century, when large numbers of ukiyo-e were imported to Europe.”

Many international artists fell in love with aspects of ukiyo-e and the partial list includes Paul Gauguin, Vincent van Gogh, Claude Monet, Pierre-Auguste Renoir, Henri de Toulouse-Lautrec, Félix Bracquemond, Mary Cassatt, and many more. Of course, like all meetings of different thought patterns and styles the same applied the other way because Dutch artists and others impacted on some ukiyo-e artists. Therefore, while nations in this period had vague notions of “the other” in the field of art barriers were being broken and this especially applies to the late Edo period when new ideas were spreading to distant shores.

Ukiyo-e was constantly evolving and Meiji ukiyo-e is often overlooked but some of the greatest artists of this art form were based in this period of history. This notably applies to Chikanobu, Kunichika, Kyosai, Ogata Gekko, and Yoshitoshi. Of course, individuals like Kyosai and Chikanobu were born firmly within the Edo period but while Kyosai belonged to both worlds the life of Chikanobu is best summed up in the Meiji period.

The Japan Ukiyo-e Museum in Matsumoto, Nagano prefecture, is a great place to visit if you reside in Japan or if you are a tourist to this intriguing nation. On their website it is stated that “The average citizen’s mood of Edo period (1603-1867) was an extremely buoyant and joyful one –not the transitory, heavy atmosphere characteristic of the troubled middle age. The word “ukiyo-e” means “the picture of buoyant world” and incorporates in its meaning the common man’s daily pleasures, such as Kabuki plays, Geisha houses, and so on. The forerunner of Edo period prints was simple drawings that gradually developed into a wood-block, thus satisfying the growth of the demand.”

 

However, the Edo period is too distant to view with nostalgia because many evil deeds were happening throughout the world in this period. Therefore, beautiful gardens, stunning architecture and holy Christian churches, Buddhist temples, and Islamic mosques, don’t tell us anything because many a slave built the finest monuments that graced this earth.

Despite this, clearly changes were happening in Japan in the middle to late Edo period and ukiyo-e provides a greater depth to what was happening in Japan than most art forms in other nations in this period of history. However, I believe the maturity of Meiji ukiyo-e represents a clearer picture but given the closer timescale then this is only natural.

Even today the vast majority of individuals don’t fully understand the complexity of ukiyo-e and the areas which artists delved in. The image of Hokusai is mainly based on images from the Thirty-six Views of Mount Fujiand other stunning landscape images. Yet the other Hokusai is the creator of The Dream of the Fisherman’s Wife whereby a young lady is enjoying being sexually touched by a fully grown octopus and a young octopus.

In another article I wrote I stated that Ukiyo-e expresses the richness of Japanese culture, nature, history, mythology, theatre, stunning landscapes, and highlights the importance of entertainment and other areas. Also, ukiyo-e shows vivid images of sexuality and some shunga is extremely explicit even by the standards of today in liberal nations.  This reality is what makes ukiyo-e so powerful because it relates to both reality and a world of mythology and ghosts.”

Turning back to Hokusai then in many ways this aspect of his art sums up the beauty of ukiyo-e because you have so many forces and factors behind the images. Therefore, this art form expresses an abundance of topics, issues, cultural aspects, the hidden world – and the mundane – and this is the heart of ukiyo-e and its power.

http://www.ukiyo-e.co.jp/jum-e/index.html

The Japan Ukiyo-e Museum: 2206-1, Shimadachi, Matsumoto, 390-0852, JAPAN.

Open: 10:00 a.m.—5:00 p.m.
Closed on Monday

http://welcome.city.matsumoto.nagano.jp/contents03+index.id+7.htm

Please visit http://toshidama.wordpress.com for more information about ukiyo-e

Please visit http://toshidama-japanese-prints.com/  –   On this site you will see a wonderful selection of Japanese woodblock prints for sale. Ukiyo-e (the Japanese name for woodblock prints of the 18th and 19th centuries) are beautiful, collectible and a sound financial investment.

http://welcome.city.matsumoto.nagano.jp/

leejay@moderntokyotimes.com

http://moderntokyotimes.com 

 
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Posted by on January 30, 2012 in Japan

 

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