Term
| Red-Robed Bodhidharma, Kamakura Period, 1260s, hanging scroll, ink and colors on silk |
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Definition
[image]
•Considered the 28th patriarch in the line of Buddha
•First Zen Buddhist patriarch
•Indian monk – wearing characteristic red robes
•9 year period of meditation allowed him to attain Enlightenment
•Importance of the eyelid – he cut his off when he nearly fell asleep – it is said that from his fallen eyelids sprung tea trees thus the importance of tea |
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Term
| Liang Kai, Shakyamuni Descending the Mountain, S. Song (Chinese), 1204, hanging scroll, ink and color on silk |
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Definition
[image]
•Chinese painting
•Liang Kai – originally a court painter, then entered Zen establishment
•Period between austerity and his meditation under the Bodhi tree is referred to as “descending the mountain”
•Become emaciated from living in forest |
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Term
| Portrait of Wuzhun Shifan, S. Song (Chinese), 1238, hanging scroll, ink and color on silk |
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Definition
[image]
•Chinso – portraits of Zen masters/monks
•Seated in three point position w/ full body
•Seems a lot more approachable, naturalistic face
•Painting was made for life and gifted to his pupil
•Thought that these were used for mortuary rituals |
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Term
Shakyamuni Descending the Mountain, S. Song (Chinese), 1244, hanging scroll, ink on paper
**apparition painting** |
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Definition
[image]
•Apparition painting – seem to blend into the paper (style of painting transmitted from China)
•Brushwork – very delicate, fine-tip brush on his face, lines are used to outline |
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Term
| Liang Kai, The Sixth Patriarch Tearing up a Sutra, S. Song (Chinese), early 13th century, hanging scroll, ink on paper |
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Definition
[image]
came up with the idea of satori
believes that oral transmission is better than the written sutra |
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Term
| Mokuan, Hotei, Nambokuchō Period, first half of 14th century, hanging scroll, ink on paper |
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Definition
[image]
•Eccentric individual who went around collecting donations for himself
•Imagined to be the reincarnation of the Buddha of the future
•Thicker detail on the robe, thinner on face
•Mokuan – went to China as a pilgrim and stayed there until his death
•Dokakusha – personal journey toward enlightenment |
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Term
| Mokuan, The Four Sleepers, Nambokuchō Period, first half of 14th century, hanging scroll, ink on paper |
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Definition
[image]
•Monk Bukhan
•Kanzan (poet) and Gitoku (monastic servant)
•Sense of humor, irony and contradiction
•Dream conception – in this state one could achieve insight into the nature of himself → achieve enlightenment |
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Term
| Muqi, Guanyin, Crane, and Gibbons, S. Song (Chinese), 13th century, set of three hanging scrolls, ink and color on silk |
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Definition
[image]
•Very connected to Zen Buddhism
•Made originally from a Chinese painter
•Not originally intended to be displayed together
•Deity is placed in the center
•Surrounding images create a strong diagonal
- gibbons (unenlightened), cranes (enlightened) |
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Term
| Lin Tinggui, Luohan Laundering, S. Song (Chinese), 1178, hanging scroll, ink and colors on silk |
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Definition
[image]
•Represents the opposite of Bodhisattvas
•Originally comes from 100 hanging scrolls
•Protect/Guardian deities pursuing nirvana
- arhots - were seen as selfish because they were purpusing their own enlightenement |
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Term
| Josetsu, Catching a Catfish with a Gourd, Muromachi Period, ca. 1413, hanging scroll, ink and color on paper |
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Definition
[image]
•Illustrating the sounds and nature that would play a role – not realistic situation, but it is meant to be idealized
•Someone ragged and disheveled looking – teaching us about that very personal journey of enlightenment
- monks furthered landscape paintings |
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Term
| Shūbun, Reading in a Bamboo Studio, Muromachi Period, ca. 1446, hanging scroll, ink and color on paper |
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Definition
[image]
•Large introduction
•Shubun – also a zen monk painter, by 1430’s had gained reputation as a good painter and had patrons outside of monastery
•Landscape is at the bottom
•Text at top is more tightly packed
•The emphasis is on the right side – there is a little house with a person inside (hidden by evocative mist which emphasizes the hidden away nature) |
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Term
| Sesshū, Winter Landscape, Muromachi Period, ca. 1470s, one of four hanging scrolls of the four seasons, ink on paper |
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Definition
[image]
•Sesshu – patronage from a local samurai clan which allowed him to travel to China, he did not reside within a monastery and instead built his own studio
•There is no poetry that is attached to this scroll
•Foreground – very dark ink tonalities, textural details
•Background - reduced amount of contrast |
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Term
| Sesshū, Splashed Ink Landscape, Muromachi Period, 1495, hanging scroll, ink on paper **haboku** |
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Definition
[image]
•An object of remembrance – keeping the painting style of Sesshu alive (given to his pupil)
•Same tree from Lanscape after Yujian |
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Term
| Dōjinsai Tearoom at Ginkakuji, Muromachi Period, 1480s |
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Definition
[image]
•Tearoom inside of Ginkakuji
•Tea – began as a practice for Zen monks to stay awake during meditation
•By mid 1400’s a special place is set aside for tea drinking
•Tokonoma – special place for hanging scrolls, flowers and staggered shelves for the display of ceramic objects
•Tea is prepared by the host in front of the visitors and there becomes a beauty in its very creation
•Kaiseki ryori – light meal which accompanies the tea ceremony (all on one platter)
•Fairly small – made up of four meets
•Shoin – study room, designed for monks to study and practice |
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Term
| Bamboo vase belonging to Sen no Rokyu named “Onjoji,” Momoyama period, 1590 |
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Definition
[image]
•Named after a monastery with a famous bell w/a crack
•Crack is a direction connection – ties into wabi and sabi
- object had a name - importance |
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Term
| Teabowl, Jian ware with dark brown glaze and leaf decoration, S. Song dynasty (Chinese), stoneware |
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Definition
[image]
•Jian – dark laced wears, stone wears (fired at a higher temp. than earthen wares), commonly made in the northern and southeastern parts of China
•Used during banquets for the Samurai
•Matcha – powdered and prepared green tea
•Not only appreciating the look now, but what the leaf decoration would look like when used
•Metal band was used originally in China because tea bowls would be stacked one on top of the other – kept from sticking |
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Term
| Teabowl, Jian ware with dark brown glaze and “hare’s fur” markings, S. Song dynasty (Chinese), stoneware, H: 7.3 cm |
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Definition
[image]
•Appreciated for there creation due to “accident” and “trial and error” – the glaze could not be fully controlled |
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Term
| Water jar named “Broken Bag,” Iga ware, Moyama Period, ca. 1600, glazed stoneware |
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Definition
[image]
•Imperfections which are celebrated
•Cracks filled in with lacquer to make it functional
•Feet were added to the bottom to make it usable |
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Term
| Staggered view of (L to R) New Palace, Middle Shoin, Old Shoin, Katsura Villa, Edo Period, 1620-1624 |
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Definition
[image]
•“Flying Geese Formation” - the technique of having the buildings staggered so all facades are visible - trying to allow as much light as possible as well as the pond |
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Term
Tenshu, Himeji Castle, Momoyama Period, 1601-9
**granted by Tokugawa Ieyasu to his loyal retainer Ikeda Terumasa** |
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Definition
[image]
•Granted by Tokugawa leyasu to his royal retainer Ikeda Terumasa
•Formed the border between territories that had already been conquered by shoguns and new territories
•Built on a plain
•Tallest part of the castle complex |
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Term
| Ninomaru Palace, Nijō Castle, Edo Period, 1626 |
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Definition
[image]
- residence of shoguns in kyoto
•Flower Crest
•Public → more private |
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Term
| Great Audience Hall of Ninomaru Palace, Nijō Castle, Edo Period, 1626, with paintings by Kanō Tanyū, ink and colors on gold leaf paper |
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Definition
[image]
•Shogun is depicted like Buddha – retainers are below
•Pine tree behind the shogun encircles him like a mandorla
•Tanyu – took on a lot of commissions during the kano school period
•Motif – positive longevity of the court
•Pine trees – resilient, through winter they endure and don’t lose needles |
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Term
Kanō Eitoku, Birds and Flowers of the Four Seasons, central room of the Jukōin, Daitokuji, Muromachi Period, 1566, sliding door panels, ink, colors,
and gold on paper |
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Definition
[image]
•Made up of North, East and West – made up of 16 panels total
•Continuous panel – right to left (direction of reading)
•Continuing cycle of life is represented in the seasons - samsara
•East Wall
oPlum trees – in springtime, among the earliest blossoms
oDucks and birds are looking at one another – suggest the continued motion
•North Wall
oWarm season – either spring or summer
oRed pines – low lying branches
oOpening up of a sensorial experience
oCrane – sound
oUse of light colors
•West Wall
oCurving down or pine branch to match bending of the crane
oHibiscus flower – late summer to early autumn |
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Term
| Hakuin Ekaku, Mu (Nothingness), Edo Period, mid 18th century, hanging scroll, ink on paper |
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Definition
[image]
•A pupil asks a Zen master if dogs can attain enlightenment – didn’t say no – instead said “mu”
•Is the figure similar enough to the character?
•Expressionistic
•Is there something to be said about the randomness?
- would go around teaching to people |
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Term
Hakuin Ekaku, One Hand Clapping, Edo
Period, 1766, hanging scroll, ink on paper |
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Definition
[image]
•Rendering of Hotel (the cloth sack monk)
•Zen – contrast between the thin and thicker lines |
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Term
| Itō Jakuchū, Vegetable Parinirvana, Edo Period, c. 1792, hanging scroll, ink on paper |
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Definition
[image]
•The Buddha and bodhisattvas are absent – replaced by vegetables
•Vegetables have been endowed with some aspects of the human body
•Exposed to Kano paintings |
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Term
| Itō Jakuchū, Insects, Reptiles, and Amphibians at a Pond from the Colorful Realm of Living Beings, Edo Period, hanging scroll from a set of thirty paintings, ink and color on silk |
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Definition
[image]
•Part of a set of paintings – gave it to the monk at the monastery where he was introduced
•No sense of depth
•Random collection of animals – very “whimsical” – not particularly realistic
Illustrating that Buddhahood can be extended to all forms of life |
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Term
| Tosa Mitsunobu, Tale of Genji Chapter 17: The Picture Contest, Muromachi Period, 1509, pair of album leaves, ink, color and gold on paper |
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Definition
[image]
•The first “Tosa” was a member of the Fujiwara Clan
•Court painters for the Tokaju shoguns
•Built-up pictures
•What is the purpose of the clouds? – Sense of voyeurism, creates a dream-like quality |
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Term
| Rakuchu rakugai screens (Scenes in and around the capital), Edo Period, ca. 1660, pair of six-fold screens, color and gold on paper |
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Definition
[image]
•Always referring to Kyoto – the royal capital
•Typically appear a six set screen
•Screens – define and divide spaces
•Clouds – nostalgia, making it seem as if we are far away |
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Term
| Calligraphy by Hon’ami Koetsu and painting by Tawaraya Sotasu, Shin-Kokinshu, Momoyama Period, early 17th century, handscroll, ink, silver and gold on paper |
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Definition
[image]
•Made for the upper class townspeople – gray and gold (refined taste)
•A relatively small object
oDeer Scroll
•28 poems, which dealt with the theme of autumn
•Most appear to be the same size
•Little background
•Sense of unity
•Colors are similar – limited color palette
•Combination of line and wash |
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Term
| Tawaraya Sōtatsu, Thunder God and Wind God, Edo Period, after 1621, pair of two-panel screens, ink, color, and gold leaf on paper |
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Definition
[image]
•Thunder God – strong muscular, shown w/drums
•Wind God – strong muscular, shown w/bag of wind
•Sense of motion – very dynamic
•Emphasis on negative space imagining continued motion
•Evocative sense of foreshortening |
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Term
| Tawaraya Sōtatsu, Matsushima (Pine Island) Screens, Momoyama to Edo Periods, 17th century, pair of six-panel folding screens, ink, color and gold leaf on paper |
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Definition
[image]
•An actual place
•Previously known as the “Rough Sea Screen”
•Is there a narrative? – no, not a particular story, doesn’t matter if you take out one panel
•Same place, different perspective
•Tarashikomi – technique in which wet ink is applied to other layers of wet ink creating a gradual effect (Sosatsu is credited as having created this style)
•Exaggerates elements of nature
•Foam takes on a “tentacle like” quality |
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Term
| Ōgata Kōrin, Waves at Matsushima, Edo Period, early 18th century, one of a pair of six-fold screens, ink, color and gold on paper |
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Definition
[image]
•Originally part of a set of two – 6 panels each
•Band of gold – suggests band that crossed between both screens
•A more unified composition
•Use of “tarashikomi”
•Waves – making them exaggerated and more “life-like”
•Very three dimensional |
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Term
| Ōgata Kōrin, Irises, Edo Period, ca. 1701, one of a pair of six-panel folding screens, color with gold leaf on paper |
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Definition
[image]
•In some points you can see the clumps of Irises, but no bridge – would have to know the poem and narrative to understand |
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Term
| Hishikawa Moronobu, illustration from the series The Appearance of Yoshiwara, Edo Period, 1678, monochrome woodblock print |
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Definition
[image]
•Guidebooks were created to discuss the best restaurants, most beautiful geishas
•Focus on single sheet images
•Shows the interior of a tea house
•Author signed his name on the screen – image within an image
•Enjoyed by bureaucrats who took interest in the pleasure quarters |
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Term
| Utagawa Toyoharu, Interior of a Kabuki Theater, Edo Period, ca. 1776, polychrome woodblock print |
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Definition
[image]
•Theater houses – both male and female roles played by males
•Text tells the title, name of artist and the address of the printer
•Western style vanishing point perspective
•People are talking to one another – not a place to be quiet |
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Term
| Suzuki Haronobu, Courtesans on a Veranda on an Autumn Evening, Edo Period, c. 1768, polychrome woodblock print |
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Definition
[image]
•Brocade pictures – many colors next to one another is reminiscent of actual silk brocades (style of woodblock prints)
•Served as advertisements and as souvenirs
•Said to cost the same size as two cups of noodles |
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Term
| Katsushika Hokusai, Under the Wave off Kanagawa, from the series Thirty-Six Views of Mt. Fuji, Edo Period, 1830-33, polychrome woodblock print |
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Definition
[image]
•Landscape prints – last genre of woodblock to develop
•This artist is credited with bringing landscape woodblocks to the forefront
•Mt. Fuji – sight of a famous cult that focused on immortality
•Comprised a total of 46 prints
•Black outlined would have been the first part printed
•The remaining colors would have been inked from palest → darkest
•Problems with colors over time –
oIndigo → gray
oBlue → often too big for printing
•White caps look snow like
•Fisherman are probably going out for their first catch of the season in early spring and brining them back to Edo |
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Term
| Katsushika Hokusai, South Wind, Clear Sky, from the series Thirty-Six Views of Mt. Fuji, Edo Period, 1830-33, polychrome woodblock print |
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Definition
[image]
•Specific time of day - dawn
•Blurring would have happened during the printing process |
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Term
Yosa Buson, Bare Peaks of Mt. Gabi, Edo Period,
ca. 1778-1783, handscroll, ink and color on paper |
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Definition
[image]
•Literati – idea that they didn’t have access to what court painters did
•Known for his haiku poetry – 17 syllables
•Importance of place has to do with historical precedence
•Why only the mountain tops?
oHardest part to get to
oThe unreachable and unapproachable
•Viewer is looking up at the mountain tops
•Related to a Tang Dynasty poem related to the moon
•Brushwork emphasizes their lack of skill – could not paint what they wanted |
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Term
Ike Taiga, True View of Mount Asama, Edo Period, ca. 1760, hanging scroll, ink and color on paper
**shinkeizu – |
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Definition
[image]
•Shinkeizu – “true view picture” – earliest instance in Japan of a painting being termed a “true view”
•Artist visited this place and made sketches
•Accurate sense of perspective
•Doesn’t immediately appear to be symbolic
• Seems like a “composite” view
•IT IS AN IMPOSSIBLE VIEW!
oYou can both see the mountain be on the mountain at the same time
o“true” – in no way scientific, much more subjective |
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Term
| Shiba Kōkan, Seven-League Beach at Kamakura, Edo Period, 1796, oil painting on silk |
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Definition
[image]
•An attempt at Western artistic style – he thought that to be the only “realistic” depiction
•Smooth gradation of colors
•Lack of outline
•Artist has signed his work |
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Term
| Watanabe Kazan, Portrait of Ichikawa Beian, Edo Period, 1837, hanging scroll, ink and color on silk, 129 x 59 cm. |
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Definition
[image]
•Finished portrait appears more flat and formal – sketch is more detailed and informal
•Sketch – unattractive swelling on the right hand side of face (remains in portrait) |
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Term
| Utagawa Hiroshige, Kanda Dyers Quarter, from the series One Hundred Views of Edo, Edo Period, 1857, polychrome woodblock print, 37.1 x 24 cm. |
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Definition
[image]
•No apparent middle ground
•Focus on the verticality of the work |
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Term
| Takahashi Yuichi, Courtesan, Meiji Period, 1872, oil on canvas |
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Definition
[image]
•Takahashi - born as a low-ranking samurai, admiration of Western style
•Sense of animation in the clothing she is wearing
•Focus on areas of color – no outlines
•State of mind – contemplative, meditative – seems more serious
•Made for a specific patron of a specific lady |
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Term
| Asai Chū, Harvest, Meiji Period, 1890, oil on canvas |
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Definition
[image]
•Anonymous peasants at work
•Juxtaposition of areas of color against one another |
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Term
| Kuroda Seiki, Lakeside, Meiji Period, 1897, oil on canvas |
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Definition
[image]
•Focus on images of women
•Went to school in Tokyo
•Made after his return in Japan
•1900 Exhibition in Paris – to be shown to a European audience
•Real place in Japan – lake
•Signed his name in English
•Exotic nature of the features |
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Term
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Definition
Considered the 26th patriarch in the line of Buddha
First Zen Buddhist patriarch
i.e. The Red-Robed Bodhidharma |
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Term
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Definition
| Tradition of zen painting in which depictions of Buddhist themes are intended to convey the subjective experience of receiving spiritual insights or revelations |
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Term
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Definition
Portraits of Zen masters/monks
i.e. Wizhun Shifhan |
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Term
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Definition
The Sixth Patriarch - came up with idea of satori
i.e. the sixth patriarch tearing up a sutra |
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Term
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Definition
The Six Patriarch - believed in sudden Enlightenment (satori)
Carrying out chores with intense focus
i.e. the sixth patriarch tearing up a sutra |
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Term
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Definition
Questions or exchanges with a zen master that cannot be understood or answered with rational thought
i.e. mu (nothingness) |
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Term
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Definition
Tradition of Zen painting in which poetry - often composed and copied by several different priests - is combined with a monochrome image of an imaginary landscape, often in the format of a hanging scroll
i.e. catching a catfish with a gourd |
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Term
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Definition
Splattered/Splash Painting – speaks to the way in which the painting is unveiled
i.e. splashed landscape |
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Term
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Definition
study room, designed for monks to study and practice in the tearoom
ie. dojansi tearoom |
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Term
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Definition
special place for hanging scrolls, flowers and staggered shelves for the display of ceramic objects in the tearoom
ie. dojansi tearoom |
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Term
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Definition
The commonplace act of drinking tea and offering it to guests (fifteenth century) --> in the subsequent centuries it became an essential part of the samurai and intellectual culture --> related to wabi and sabi and espoused through the use of ceramic and lacquer pieces
ie. dojansi tearoom |
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Term
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Definition
| appreciation for what is rustic and plain |
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Term
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Definition
| appreciation of old and imperfect |
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Term
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Definition
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Term
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Definition
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Term
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Definition
fortified top of a castle
i.e. himeji |
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Term
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Definition
| Private sub-temples in Zen Buddhist temple complexes, where retired senior priests live |
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Term
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Definition
| Lineage of painters and ateliers established in the mid-fifteenth century, but which achieved true ascendence in the sixteenth century when it won the major portion of samurai and even imperial patronage. The artists of this school forged a unique style, marrying kanga styles with some yamato-e elements with an overall eye to their decorative effect. In the Edo Period (1615-1868) it was the school of the Tokugawa regime and came to be seen as the stale "old guard" against which the newer schools reacted. In the Meiji Period (1868-1911), it and the Tosa school were influential in the formulation of the nihonga style. |
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Term
| bird and flower painting (J. kachōga) |
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Definition
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Term
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Definition
| Lineage of painting centered on the imperial court: founded at the 12th century by Fujiwara no Tsunetaka. It became the leading school of yamato-e painting at the imperial court until the Meiji Restoration of 1868. |
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Term
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Definition
| does not refer to a group of artists who studied in the same place/way, but rather refers to those who submitted to a certain technique |
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Term
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Definition
technique in which wet ink is applied to other layers of wet ink creating a gradual effect (Sosatsu is credited as having created this style)
Tarashikomi ("dripping ink") refers to the laying of colors onto still-wet color...In tarashikomi, we see different colors bleeding into one another as a result
Tarashikomi is associated with Tawaraya Sotatsu and Ogata Korin
i.e. the sea |
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Term
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Definition
Literally "pictures of the floating world"; images of the pleasure districts of Edo and Kyoto that housed entertainment such as the theater and brothels. These woodblock prints and paintings - mainly genre scenes and portraits - were very popular in the Edo Period.
i.e. |
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Term
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Definition
Literati painting; a genre of painting developed in China in which the artist was meant to be a member of the educated elite. As a point of distinction from the artisan painters, they painted mostly landscapes.
i.e. gabi mountaintops |
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Term
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Definition
Literally "Dutch studies": study of Western sciences and humanities in the Edo period by means of the Dutch language (the only language in which Western books were printed in Japan)
Rangaku ("Dutch learning"), on the other hand, is represented by Shiba Kokan and Watanabe Kazan. This is the Edo Period phenomenon in which Western learning was transmitted to Japan through Dutch books and images, because the shoguns had closed off Japan from outside trade, except with Dutch and Chinese traders. This situation did not change until the forcible opening of treaty ports as negotiated by Commodore Matthew Perry in 1854.
i.e. landscape by the sea |
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Term
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Definition
yoga means "Western painting," indicating Western-style oil painting
In actuality, both modes of painting blended Western and Japanese elements. Another area of common ground is that they were produced within an institutionalized educational system and for public exhibitions. Yoga is represented by Takahashi Yuichi, Kuroda Seiki, and Asai Chu |
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Term
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Definition
| nihonga means "Japanese painting," indicating painting made with traditional materials.In actuality, both modes of painting blended Western and Japanese elements. Another area of common ground is that they were produced within an institutionalized educational system and for public exhibitions.nihonga is represented by Kano Hogai and Yokoyama Taikan. Also keep in mind that nihonga was developed by Ernest Fennollosa and Okakura Kakuzo in response to yoga. |
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Term
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Definition
muddled style (placing water on surface, putting pigment in the water
("muddled style") refers to the laying of colors or ink onto water
morotai, we do not see the blending of different colors but rather different tones of the same color (or of black ink)
morotai is associated with Yokoyama
Taikan. Also keep in mind that what morotai sought to accomplish was overcoming the duality of Western vs. Japanese painting by reconciling the dichotomy between color and line.
i.e. the sea |
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Term
| Kanō Hōgai, Fudō Myō-ō, Meiji Period, 1887, hanging scroll, color on paper |
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Definition
[image]
•Kano school painters were disenfranchised and so joined the Tokyo School of Fine Arts
•Used traditional Japanese
opigments
oappears to “cut” using traditional iconography
oLandscape – no particular place
oMandorla |
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Term
Yokoyama Taikan (1868-1958), The Sea, Meiji Period, ca. 1904, unmounted, ink and colors on silk
**mōrōtai |
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Definition
[image]
•Morotai – muddled style (placing water on surface, putting pigment in the water
•Harkens back to traditional Japanese – focus on water
•More blending
•Criticized for lack of lines
•Taikian – trained under Okakura Kakuzo |
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Term
| Hiroshima Peace Memorial Museum, designed by Kenzo Tange, 1949-1955, concrete |
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Definition
[image]
•Nothing about the building that seems distinctly Japanese
•Meant to illustrate how the dropping of the A-bomb was not just a loss of Japanese life, but of a sadness worldwide |
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Term
| Yoyogi Stadium, designed by Kenzo Tange, 1961-1964, concrete and steel cable, Tokyo |
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Definition
[image]
•Tokyo Olympics – meant to symbolize Japan as a peaceful nation, how the country was able to rebuild, intended to signal modern architectural techniques
•Building of the bullet trains
•First Olympics simultaneously telecast
•At this time this was the largest roof supported by two cables |
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