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Isoda Koryusai: man of mystery in the ukiyo-e art world

Isoda Koryusai: man of mystery in the ukiyo-e art world

Lee Jay Walker

Modern Tokyo Times

Isoda Koryusai is a man of mystery even today because much remains up in the air about important aspects of his life. Koryusai was born in 1735 and died in 1790 and he was active during the 1760s and until a few years before his death. However, major aspects remain debatable but despite this he was a fine artist who graced ukiyo-e and Japanese art.

Unlike the vast majority of ukiyo-e artists Koryusai was born into an elite samurai family and he was one of only a few who entered the ukiyo-e art world from such a lofty background. This meant that he saw aspects of Japanese society and culture from a different way to the majority of ukiyo-e artists.

Koryusai understood the importance of stratification and Confucian thinking because his early life was based on conformity and not upsetting the applecart. However, either he turned to the art “within him” or he was forced to enter the world of ukiyo-e because of financial factors. Sadly, this area is disputed by many scholars of ukiyo-e and much is open to interpretation.

Therefore, some scholars claim that he became a ronin and because of this he took to art in order to survive financially. Others, however, claim that he voluntary entered the art world and gave up being a samurai because art was embedded in his soul. This area is very important because in order to feel the passion and soul of Koryusai a great deal relies on this.

Of course, nothing can take anything away from the art of Koryusai irrespective of the real reasons behind changing his lifestyle. However, the vagueness of knowledge means that it is difficult to get close to the “real” Koryusai.

On the website Artelino (http://www.artelino.comit gives a lot of information about Koryusai and Dan McKee comments about the background and influence of this overlooked artist. This applies to the background and influence behind Koryusai and if he was a pupil of Harunobu Suzuki.

Dan McKee comments that “There is no certain evidence to prove this fact, but it is often assumed that Koryusai began his printmaking work as a pupil of Harunobu Suzuki, whose style can indeed be seen in Koryusai’s early work, though also in the work of some other print artists (Shunsho, Shiba Kokan) whose connection to Harunobu seems even less direct. The same can be said for Koryusai’s early signature, Haruhiro, under which he designed his first prints at around the time of Harunobu’s demise (1769-1770), for use of the “haru” prefix may imply only an effort to appear in the Harunobu line, rather than an actual master-disciple relationship (ala Harushige).”

“Similarly, the inscription on one 1770 print, claiming it to be a design by Harunobu, for which Koryusai was asked to add color, could as easily represent an attempt to place Koryusai as the direct descendant of Harunobu for commercial reasons, to fill the void left by the death of the first nishiki-e master. It is notable that Koryusai states in this inscription that he “does not know Harunobu’s way but have finished the print with his [Koryusai’s] own brushwork.”

Robyn Buntin (http://www.robynbuntin.com) on the other hand comments that “Though possibly a pupil of Shigenaga, Koryusai was influenced most by his friend Harunobu whose style can be seen in Koryusai’s early work. His most original work, in which he excelled, was in pillar prints, bird-and-flower prints, and shunga.”  

Jack Hillier concludes that “There is always, especially among collectors, a tendency to make comparison between artist and artist, and with Koryusai it is perhaps a case of we look before and after and pine for what is not.”

Koryusai remains a man of mystery but he produced stunning art and gave much to the ukiyo-e art world. Therefore, it is best to let the man of mystery remain to be this, rather than creating or trying to formulate conclusions which are incorrect.

Another mystery about Koryusai is why his art appears to be overlooked and the same applies to the individuality of his work. After all, he did produce art which carried his own individual style and the spectrum he focused on was very intriguing.

The final years of his life appear to be based on focusing on his roots because many designs had Chinese connotations and based on typical pillars of samurai elites. Therefore, the foundation laid down in Koryusai’s early life remained deeply within his soul.

http://www.artelino.com/articles/isoda-koryusai.asp

http://www.robynbuntin.com/ukiyo-e/MorebyArtist.asp?ArtistID=353

leejay@moderntokyotimes.com

http://moderntokyotimes.com

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Posted by on November 30, 2011 in Japan

 

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Japanese art and ukiyo-e: Tsukioka Yoshitoshi caught in two worlds

Japanese art and ukiyo-e: Tsukioka Yoshitoshi caught in two worlds

Lee Jay Walker

Modern Tokyo Times

The artist Tsukioka Yoshitoshi literally lived in two worlds and this applies to not only the Edo Period and Meiji Period but also to a chaotic lifestyle. However, despite this, Yoshitoshi produced stunning art and he was extremely productive.

Yoshitoshi was born in 1839 and his early life belonged to the feudal ways of the Edo Period but gradually Japan witnessed internal political and cultural convulsions. These internal convulsions culminated with the Meiji Restoration of 1868 and the onset of modernity was a major challenge for all ukiyo-e artists.

Yoshitoshi, like many ukiyo-e artists, was extremely productive during his lifetime because he produced approximately 10,000 prints. However, the technological change in Japan and outside influence of art was making rapid inroads. Therefore, all ukiyo-e artists of this period had to adapt to this new reality.

Yoshitoshi fully understood that times were changing and it is clear that many aspects of his art were innovative. John Stevenson speaks kindly about his art because he stated that “Yoshitoshi’s courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory.”

 

Many other individuals also speak with fondness towards Yoshitoshi because he took the challenge head on and simply responded by utilizing his fantastic talent. Therefore, when individuals view his rich legacy it is clear that the ukiyo-e world of Ando Hiroshige and Katsushika Hokusai was very different.

However, despite the innovation of Yoshitoshi in the art world and adapting to modernity, his biggest demons were internal because he suffered many dark periods. Indeed, in 1871 he was shackled by severe poverty and until his death in 1892 he struggled with severe bouts of depression.

At one point, these internal problems nearly tipped Yoshitoshi over the edge because he had a mental breakdown in the early 1870s. Therefore, you had an artist facing mental problems, deep scars from the past, severe poverty and a rapidly changing world which would impact greatly on ukiyo-e in a detrimental way.

Also, the two ladies who cared deeply about Yoshitoshi would be dragged down by him because both would enter the brothel world in order to help him. This was not unusual in Japan during times of severe poverty but the passion that these ladies had for Yoshitoshi wasn’t fully met the other way.

In 1884 major changes occurred for Yoshitoshi because he got married and from this period until 1891 he produced some amazing ukiyo-e. Yet the early life of Yoshitoshi remained firmly within his soul and in 1891 he had a major bout of depression and mental breakdown. However, this time he would not recover because on June 9, 1892, he passed away at the age of 53.

Yoshitoshi did manage to go home for the last few months of his life but clearly he was nothing more than a shell by this time. Therefore, the ukiyo-e world lost a great innovator and his rare talents which still had so much to give the world were lost because of the ravages of mental depression and terrible health.

Like stated earlier, the years after his marriage in 1884 was extremely fruitful and this notably applies to One Hundred Aspects of the Moon (1885-1892) and New Forms of Thirty-Six Ghosts. Also, in the same period he created other notable work of importance, therefore, Yoshitoshi was reaching fresh heights prior to 1891 and one can only wonder about what he would have produced in the future. 

In an earlier article I stated that The reputation of Yoshitoshi continues to grow in the modern world and in all truth it is not based on hype because Yoshitoshi was an amazing artist and he fully deserves to be remembered for this…”

However, “Yoshitoshi was working against the onset of modernity because with the mass production of Western standards, for example in lithography and photography; he was fighting a losing battle.  However, he did keep the bursting dam at bay but the spark of passion could not keep the onrushing water out.  Therefore, Japanese woodblock print, which had been a beacon for Japanese art, succumbed to the onset of modernity and he, and countless others, must have felt the pain deeply.”

The life of Yoshitoshi is one of great highs and severe lows and in many ways he represented the chaotic period that he belonged to. After all, you had many winners but also many losers who could not adapt to the changing world. However, this wasn’t the issue for Yoshitoshi because he was a great innovator.

Therefore, the real problems for Yoshitoshi were mental issues and severe poverty and clearly the later made the former even more dangerous. Yet, despite all the odds, Yoshitoshi left a lasting legacy and today his talent is rightly being reviewed and seen in a fresh light.

After all, Yoshitoshi was “a bridge” into two worlds and his ukiyo-e highlights the intense struggle to survive this new world. It also shows the power of ukiyo-e and Meiji ukiyo-e artists need to be acknowledged more because they brought a new freshness to this amazing art form.

http://yoshitoshi.verwoerd.info/

http://www.yoshitoshi.net/

leejay@moderntokyotimes.com

http://moderntokyotimes.com

 
 
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Posted by on November 24, 2011 in Japan

 

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