Ukiyo-E Influence

Ukiyo-e is the name given to one of the most important art forms in all of Japan. Arriving as a new form of art in the 1700's these prints served as a record of daily life and pleasures in a newly wealthy Japanese society. The Japanese themselves had long regarded pleasure as transient because of their Buddhist heratige, because of this the word Ukiyo-e actually means "pictures of the floating world". These prints were truly art which reflected the whims of the masses. They record popular styles of dress, new hairstyles etc. They also record the popular Kabuki theater actors, the most beautiful geisha's (or prostitutes), and later even landscapes. Within the realm of Ukiyo-e there are many masters, but there is one master,

Around the age of six years old, Hokusai began painting and even spent time as an apprentice wood-carver in his youth. He began the art of print making when he was eighteen. His most famous painting, The Great Wave, can be seen in museums all over the world even though Japan delayed it from catching on worldwide. Many believe that it was painted in the early 1800s, but Japan was not interacting culturally with other countries apart from trade with China and Korea. It wasn’t until 1859 when the Japanese were forced to open their ports that prints of The Wave spread across Europe. Originally, this piece wasn’t viewed as real art by Japanese politicians and art historians. Wood-block printing was used for commercial use and as a popular form of expression. The Japanese government wasn’t too thrilled “that such a seemingly lowbrow art form had come to define them” (15 Things). About five thousand to eight thousand prints were made but it is speculated that only a few hundreds of The Great Wave remain. The painting actually inspired music like Debussy’s La Mer.

The Tokugawa period or otherwise known as the Edo period has been recognised as an extremely significant aspect of Japanese history and left history changing effects on the country. In this essay, five primary aspects of the Edo period, which has helped produce present day Japan and had greatly impacted on the nation during this period will be addressed:

Wood block printing is a technique that was originally chinese and then in the Edo period (1603-1867) was widely adopted by japan.

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

Fuji. As usual he used blue as the color that stands out with a strong white to draw the eye and show motion. The Great wave is a Woodblock Print not a painting contrary to popular belief. This made it easier for hokusai to replicate and sell. This means it isn’t located in just one place as there are multiple originals. This print is also part of hokusai’s most popular series “Thirty-six Views of Mt. Fuji. At the time that Hokusai had created this Mt. Fuji was a huge part of Japan even having cults formed for it, this caused everything Hokusai made about Mt. Fuji to sell like crazy. I think the painting is one of his more traditional paintings it appears calm yet dangerous at the same time and is definitely one of his more dimensional

Yasumasa Morimura was born in Osaka, Japan 1951; before the end of the American Occupation and during the Korean War. It was at this time in Japan that society had become increasingly modernized and influenced by western culture. Subsequently, the foreign influence of Japan’s culture affected their culture, politics and education. With a westernized curriculum, much of the education focused on occident values, ideas, and art. Despite Japan’s rich history, much of the art history that was taught had originated from western culture.

The term Japonisme, refers to the influence of Japanese art on Western art (“Japonisme”). During the second half of the nineteenth century, there was an outbreak of admiration for all things Japanese; being that the hidden works of Japan had finally been unveiled to the Western population. In 1859, Japan opened its doors to the concept of overseas trade in turn allowing for Oriental art and household goods to come flooding into Europe. Japanese prints became an immediate hit amongst Western artists; being that they were significantly different from the works of art in which were prevalent within the West. The bright, exotic colors were immensely captivating and the Japanese notion of space opened the eyes of many artists.

Post-war Japanese society is a world where High and Low art is blurred together by otaku, such as anime, and social class. However, Takashi Murakami straddles the line. Murakami spills a mix of Nihanga and Otaku into the canvases, plastic toys, handbags, shoes, etc; endorsing his own theory/style named “Superflat”. Using strategical subject matter such as popular Japanese comic figures combined with ukiyo-e(traditional Japanese block prints), and addressing these contrasting qualities to outside cultures; Murakami intensifies what Pop Art accomplished, art versus material. On other feelings, one could argue that “Superflat” isn’t a unique, Japan-identified style, that “Superflat” is a humiliation to the Contemporary Art world because of its commercialism. Lastly, that is a continuation of the already well developed Pop Art. On the supporting side, Murakami’s “Superflat” is a high-energy, cross-culture style that serves as a new way to represent the high and low of art that is considerably unique to Japan. To support this, Murakami’s past and present artwork will have to be established chronologically to illustrate how the timeline affects his work.

In his 2001 journal article “Ise Shrine and a Modernist Construction of Japanese Tradition” of The Art Bulletin, Jonathan M. Reynolds examines the differing representation of the Ise Shrine through time, emphasizing on the changing cultural significance of the Ise after the second world war. Reynolds discussion of the Ise Shrine centers on its representation in texts and images. The texts and images in which Reynolds analyzes date as early as the 8th century with the Nihon Shoki, and as recent as the 20th century.

The influence of Katsushika Hokusai’s artworks is tremendous and extensive in western art history. For instance, Katsushika Hokusai’s Thirty-six Views of Mount Fuji inspired Claude Monet’s Haystack, Snow Effect in the year 1891. More specifically, as National Museum of Australia demonstrates that The technique of depiction of the forms about escarpment and lines of trees emerging in icy morning mists of Monet was came from In Shichirigahama in Sagami Province by Hokusai.

The significance of ukiyo-e is to describe the world which is continually changing. Also, the Japanese artists brought ukiyo-e to the world. In the late 1800s, Europeans began to use the packing material which have ukiyo-e style. Because Europeans were interested in Japanese goods, they made the trade. Also, ukiyo-e affected artists, such as Impressionists and post-Impressionists. These artists changed the way which they made the paintings, or they added ukiyo-e elements in their work.

Almost instantaneously recognizable, The Great Wave off Kanagawa (woodblock, 10 1/8 x 14 15/16 in, c. 1830-32), created by Japanese artist Katsushika Hokusai in 1830, beautifully captures the graceful, swelling movement of a crashing tsunami. Because of the way in which line and proportion are utilized, this woodblock print gracefully portrays the sheer power of the ocean. Derived from the Edo period in nineteenth century Japan, this classic was the first of a series of works from Hokusai titled Thirty-six views of Mount Fuji, all of which effortlessly depict the mountain in a wide array of angles and scenery. Arguably, The Great Wave off Kanagawa is the most iconic and cherished piece of Japanese artwork in the world. Even more importantly, Hokusai is considered prominent father figure for both Japanese art, as well as Western modernization as a whole. The Great Wave truly displays how tiny and weak man is compared to the force of nature. Not only is The Great Wave a quintessential piece of art, but it established a piece in the comprehensive networks of art, trade, and politics, that has instilled a tremendous positive impact on the twenty first century.

It is no secret that for centuries, the Japanese woman has been, to most observers, a model of elegance and graceful beauty. A picture of a kimono-clad, modest, and often silent woman has been plastered everywhere, allowing for the upmost passive subjection. If we look deeper into this image of woman, can we tell if this picture is complete? How do these women painted in representative images far in the modern world? The ideal woman in Japan is expected to be both a good wife, and a wise mother. Though these seem like reasonable expectations, there is a much deeper meaning to them that has shown signs of being outdated. During the 1800’s and 1900’s, women were subjected to society’s vision of them, and could not break free for fear of the

This Paper will be an analysis of the development of Japanese landscape painting, analyzing the historical context behind these paintings and what led to the changes in style. Both of these paintings are representative of their specific culture during this rapidly changing time and these changes will be discussed in relation to the artwork. I am going to be discussing Japanese landscape painting, the outside influences shaping Japanese landscape painting but also focusing on the internal elements of Japanese culture shaping the style of artworks. The changing techniques and styles as well as the changing political climate will all be looked at.