ARTH183 1st Edition Lecture 25Outline of Last LectureI. Kamakura Period Japan: “Tales of the Heiji/Heiji Monogatari” ContinuedA. Form/subjecta. Illustrated handscroll/emakimonob. Single scene/continuous narration-Formatting of actionB. Style; characteristics, basis for useC. Palacea. Formatting of vignettesD. Style relation to political messageII. Muromatchi Period Japan and Zen BuddhismA. Zen Buddhism; originsa. Main emphasesb. Relationship to military familiesB. “Catching a Catfish with a Gourd,” Jojetsua. Original format and patron-Shogunb. Subject; relationship to Zen Buddhismc. Style-Typical Zen treatment of figures-Relationship to Chinese Southern Song styleC. “Rock Garden”; relationship to Zen Buddhism, Zen Buddhist templesa. Form/Components-Symbolism of gravel and garden as a wholeb. Usec. Zen Buddhist aesthetic values-Wabi-SabiIII. Momoyama Period Japan (1573-1615)A. History; Totoyomi HiteyoshiB. Development of castlea. Use, developed in response to whatC. “Himeji Castle”; builder, 2 main divisionsa. Form/Style (lack of openness, heaviness)-The keep*Effect of gablesThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.-Domestic area-Defensive strategiesb. Audience Hall Interior; form, décor-New style of wall painting*OriginOutline of Current LectureI. Momoyama Period Continued: Castles and PaintingA. New painting style; relationship to castlesB. “Cypress Trees”a. Artist and patron-Creation processb. Original and later usec. Style, characteristics-“Blue and gold” style; name sourceII. Edo/Tokugawa Period Japan (1615-1868 CE): Woodblock PrintsA. Edo Period historical climate/featuresa. Middle class growth: causeb. Characteristics of capital, Edo-Cause-Effect on artB. Ukiyo-e: Definitiona. Medium of woodblock prints-How they were made-Who bought themC. “Motoura and Yaeazakura of the Minami Yamasakiya”a. Historical significance of artist to mediumb. Subject-Depiction of women re: individuality-Significance of pipe/tobacco-Symbolism of telescope-Literary featureD. “Couple in an Upstairs Room”a. Artist’s best-known subject?b. Style/Compositional innovations-Signs of artisans’ skillsc. Literary feature (fan)E. “Otani Oniji III as Yakko Edobei in the play The Two-colored Reins”a. Subject; kabuki theater descriptionb. Artist-Best known subject?-Mysterious disappearance, possible causec. Subject/Style-Face’s reflection of ka buki practice-Significance of mica backgroundF. “The Great Wave off Kanagawa”a. 19th century subject shift; relationship to subject here and series it is from-Reason for popularity of series-Artist’s varied subjects b. Composition/style-Juxtaposed shapes-Significance of bluec. Eastern/Western dual influencesCurrent LectureMomoyama Period Continued: Castles and PaintingCastles represent a new form of architecture very different from the traditional Japaneselight, open style; these darker spaces help lead to the development of a new style of large scale painting with monumental subjects blown up to fill the space (style develops and is meant to suit setting)-“Cypress Trees,” att. Kano Eitoku (1543-90). Momoyama Period, 1590: Artist is a member of the Kano School, the 1st really successful among them; this is thought to be a commission for an imperial prince. Originally was a sliding wall panel (probably would have covered multiple walls) but became a standing screen/piece of furniture. Work was carried out by multiple artists with assistance from members of Kano’s studio for colors and gold areas; Kano would have come in at the end for finishing touches*Cypress trees=Symbolic subject of longevity and strength, popular broadly and especially with military families*Style: Called “blue and gold” style; see use of heavy blue pigment in water, gold for ground and clouds (scalloped edges distinguish them); cropping off of trees is typical; extending branches of tree are silhouetted clearly against the gold; very bold, large scalebrush work fits the size of the painting, but there is also fine brushworkEdo/Tokugawa Period Japan (1615-1868 CE): Woodblock PrintsAnother period of military family rule, but a more peaceful, unified, prosperous time, allowing for growth of a large middle class; capital was at Edo, the old name for Tokyo. The ruling government tried to control military families, prevent power struggles and clan rivalries as a way of preventing civil war; done by requiring family heads to spend time each year in Edo under the watch of the rulers. As a result of this population, Edo is defined by manufacture of goods/consumption, a much larger number of men than women, and legal, widespread prostitution with prostitutes ranging from street walkers to high society courtesans-Ukiyo-e: “Pictures of the floating world”; pictures about “carpe diem” seizing of pleasures and entertainment. Subjects=Courtesans, geishas, fashionable, beautiful women, tourist sites, erotic themes, theatrical entertainment (kabuki, sumo, etc.)-Woodblock print technique: Making a print involved multiple artists; 1st, a designwas created, then carving specialists carve image on wood, ink the woodblock, and place on paper before carefully pulling the block. Color could then be added by hand*Patronage for woodblock prints comes from the urban middle class, notthe imperial court or military government“Motoura and Yaeazakura of the Minami Yamasakiya,” Suzuki Harunobu. Edo Period, 1769: Suzuki Harunobu was the 1st to create polychrome woodblock prints where all the colors were created by blocks. He produced a lot of images of beautiful women like these from the “Flowers of Beauty in the Floating World” series-here, these are 2 specific Edo women, a courtesan and courtesan-in-training. Women of Edo’s red-light district has their own lingo, culture, were considered fashion icons (see attention paid to rendering garments)-Women are standardized examples of ideal beauty, not individualized; more distinguished by clothes and hairdos*Woman smoking pipe of tobacco shows Western habit picked up in the East*Girl’s telescope=recognizable phallic symbol, reflects idea of looking (these women are to be looked upon)-Shows juxtaposition of interior and exterior scenes, with scalloped-edge top cloud area with common feature of literary accompaniment in form of poem“Couple in an Upstairs Room,” Kitagawa Utamaro