7. Painting Circles

 There are three circles on Japanese painting. Each circles has history and different characteristic. I introduce them in this week. They are interesting individually.

Nihonbijutuin (日本美術院)

History

Nihonbijutuin is the study circle that was founded to achieve the maintenance and development of Japanese painting by Tenshin Okakura. Tenshin was principal of Tokyo School of Fine Arts originally. He left it, and he thought that establishment of bijutuin(美術院 study place of art) was necessary in art school. So he founded this circle with Japanese painting artists who resigned the school together. Exhibitions of region were held actively from the beginning. Then magazines named “nihonbijutu,”and workshop were set up. And extensive actives, for example repair of national treasure, were developed under Tenshin’s directions. However, new technique that was created there suffered severe reputation. This technique received a favorable review foreign country, but Nihonbijutuin broke down on management. In 1904, Nihonbijutuin revised regulation and changed organization. And Tenshin and other artists moved Goura. They live there in rigor, but they created works that received a favorable review in the life.

　In 1913, Tenshin died. However, spitits of Tenshin was taken over, and Nihonbijutuin was revived. Then Nihonbijutuin was leaded now. And now, this is for only Japanese painting.

Exhibitions

 Exhibition of Nihonbijutuin is known by the name of “inten(院展).” Inten was constituted coterie and public. It has two exhibitions.

Inten of spring (春の院展)

This is held from the beginning of April for two weeks at Mitsukoshi's flagship store in Nihonbashi, Tokyo every year. It go the round of 10 spots of Japan for four mouths.

Revival Inten (再興院展)

This is held from the beginning of September for two weeks at the Tokyo Metropolitan Art Museum every year. It go round of 10 spots of Japan for a year. The regulation size is bigger than Inten of spring.

Artists (I introduce them next week)

Ikuo Hirayama / Toshio Tabuchi / Chiori Miyakita

The SOGA-kai（創画会）

The SOGA-kai was settle up as creative art in 1948. This association seeks new Japanese painting and this is unconcerned about traditional Japanese painting. Style is free in comparison with other cycles.

Exhibition

SOGA-ten of spring

This exhibition is a size 50 Japanese painting. It is held in Tokyo, Kyoto and other prefecture.

SOGA-ten

This exhibition is a size 150 Japanese painting. It is held in Tokyo, Kyoto, Aichi and other prefecture.

Artists(I introduce them next week.)

 Huku Akino / Aguri Uchida

Ｎｉｔｔｅｎ(日展) 

History
In 1900, Nobuaki Makino who was Austria Minister at that time wanted to hold public exhibition because he realized oversea culture keenly. He became the Minister of Education and achieved this dream in 1906. And next years, exhibition sponsored by the Ministry of Education (Bunten) was held for the first time. Bunten changed name again and again, and then it became “Nitten.” Nitten has lead art world of Japan and made long history, about 100 years.
Nitten has five parts of arts, including Japanese painting.
(Five parts … Japanese painting, Western painting, carving, industrial arts, calligraphy)

Exhibition
 It is held on autumn in The National Art Center (Tokyo) every year.




 I went to these exhibition last year. I felt that these has different atmosphere. I think you can't see this only reading this blog. So I recommend you to go these exhibition.

Next week, I'm going to introduce modern artists. See you!



Possible Sources: Nihonbijutuin HP (http://nihonbijutsuin.or.jp/)
                        　The SOGA-kai HP (http://www.sogakai.or.jp/)
                       　 Nitten HP (http://www.nitten.or.jp/)

6. Schools for the study of painting

 In this week, I explain schools for the study of Japanese painting.
 Japanese painting has long history. (Details were explained on week 2.) We could see that modern Japanese paintings are professional paintings, especially in from Muromach period to Edo period. Artists in these period followed painting as a profession. Schools for the study of painting were generated and came down. So I introduce three schools in those period.

Muromach period

 Tosa school
 In this period, Japanese original paintings took root.
Artist in this period succeeded tradition of Yamato-e and developed it. For example, motifs are Japanese four seasons and events that is seen in Yamato-e. And they developed it. 
Above all, Artists of Tosa shool are attached to the Imperial Court and shogunate. 

(Hamamatsu-zu byobu)

 This was painted by artist of Tosa school. Motif that expressed each season are painted on this painting.
 Tosa school lasted for 150 years. they not only adopted Yamato-e but also Kan-ga(Chinese painting). So their painting went well with each period.

Edo period

Kano school
 They attended the Edo Shogunate and Japanese feudal lord. So a lot of wall painting that decorated inside of castle painted.
Their school lasted by succession. Kano school had a lot of pupils. Their education is to copy old Japanese painting. So paintings of Kano had little character. But some artists of Kano had talent and exercised it. And artists of other school studied at Kano school at first. So meaning that Kano school carried out is great.

(ryotei-zu byobu / Tanyu Kano)

 This is the painting that was painted situation preach wisdom of Confucianism. Confucianism was preferred on the Edo Shogunate. This is just artist of shoggunate.



Kano artists who educated regular technique were given licenses. Like this, Kano schools established hereditary system, and spread on the whole Japan. And they lasted for 400 years.


Rimpa school
 Rimpa school is not hereditary system as Tosa school and Kano school is it. It is succeeded by artists who didn’t have student relationship. They succeeded it independently. Characteristic of Rimpa school is the point that deal with not only paintings but also handwork. For example, fan and kimono was.
 Korin Ogata is derivation name of “Rimpa.”He studied technique of Sotatsu Tawaraya and created original touch. His works are graceful and he was particular about composition of room of painting.

Kakitsubata-zu byobu / Korin Ogata

This is his work. His painting style is called “pattern of Korin” and this is used on kimono now.








 I chose three schools to represent the school of Japanese painting. There are lot of schools any others. And I think we can say that modern Japanese painting is integration of these schools. Japanese adopted a lot of other culture and studied it, besides developed it. This characteristic of Japanese support modern Japanese painting. I think possibility of Japanese painting is unlimited.

 Did you understand about schools for the study of Japanese painting? Each schools are very interesting. So see a lot of works of each schools.

 Next week, I’m going to introduce painting circles. This is modern Japanese painting.
See you (^^)

5. Traditional technology

Today, I’m going to introduce traditional technology. Materials that I introduced on blog on week 3 are used in traditional technology. Traditional technologies that were created in long history come down until now.
 First, I introduce tarashikomi use with sumi. I show example of work to explain it.

 Tarashikomi(たらし込み)

"Kohakubai-zu byobu" (The Folding Screen of Red and White Plum Blossoms) by Korin Ogata

Korin is the artist of Rimpa school in Edo period. I’ll explain detail of it on next week.
Tarashikomi is used on this picture.

Sumi and mineral pigments are used in tarashikomi. Trashikomi is to drop colors on picture and color to cause liquid to seep into paper or cloth.
For example, Sumi is dropped on part of dropping sumi that hasn’t dried yet on this picture.
Tarashikomi is beautiful expression that is created incidentally.

Momigami
　Momigami is expression of paper. It is made by crumpling paper. Mashi that is used on Japanese painting is strong. Even though it was crumpled, it doesn’t tear.
How to make are many and various. In this blog, I introduce own way.
Materials to use are acrylic paints (or sumi) and dyed mud pigments. (About materials … week3) When I make Momigami, I paint acrylic paints on mashi first. And next, I paint dyed mud pigments on it over and over again. (In this time, color is different. Dark color is better for acrylic paints.) When dried it, crumple mashi. Then only dyed mud pigments crack up.
That is this picture.

Momigami is often used on modern Japanese painting.




 Next, I introduce orthodox process of how to paint Japanese painting. There are some processes until finish it.

1. Rough sketch
We sketch what we want to paint first. In this time, paper is not mashi. We usually use kraft paper or shintorinoko paper or drawing paper.

2. Transcription (転写)
Next, we trace with tracing paper because drawing paper is thick. Kraft paper and shintorino paper don’t have to trace because they are thin. And finish it, trace it on mashi.
3. Kotsugaki (骨描き) and Kumadori (隈取り)
Kotsugaki is work that paint no strength and weakness line. Fine-point brush and sumi are used on kotsugaki. Kumadori is gradate sumi and shade with sumi. A whole atmosphere of painting decided on this work.

4. ColorⅠ… dyed mud pigment
 Next, go to painting color. It is foundation. Dyed mud pigments and gohun is used on this work before mineral pigments in effect. Only mineral pigments, it is difficult to fix on paper because mineral pigment’s grain is rough. Dyed mud pigment’s grain is fine. So it is easy to fix mineral pigments on paper.

5. ColorⅡ …mineral pigments
Finally, go to paint mineral pigments. It paints from fine pigments. It can paint tickly.


That is all about process of how to paint. If you had interest, I recommend you to paint Japanese painting.


Next week, I’m going to introduce schools for the study of Japanese painting. It conspire history on week 2 blog. So you better to read week 2 blog.
Thank you for reading. See you!

4. Japanese painting and Western painting

Japanese painting and Western painting are quite different. I introduce Japanese painting as I compare with Western painting.

 First, I easily explain characteristics of Western painting. Let’s see from Romanesque.

Romanesque (11~12th century)

Christ of glory

 People painted pictures of bible to propagate Christianity. Churches were made, and fresco paintings were painted indoor walls. They replaced bible.

Gothic (12~15^th century)

The Annunciation and Two Saints / Simone Martini

 Italy was prosperous wall painting. And tempera painting were painted there. They became more realistic and human.

Renaissance (15~16^th century)

Mona Liza / Leonardo da Vinci

  Renaissance means regeneration of the classic culture of anthropocentricity. People paid attention to realistic. Perspective was invented and realistic human body expression was attained because sketches and study of anatomical human body were advanced.

Baroque (17~18^th century)

Descent from the Cross / Peter Paul Rubens

Baroque means crooked pearl in Portuguese. Dramatic expression of light and shadow were created. Dynamic expression was formed in this time.

Impressionists (19^th century)

Grainstack. (Sunset.)  /Claude Monet

 It is painted with the three primary colors and purple, green and orange. And they are made by short touch. A motif is close things. For example, scenery of city and outskirts were painted.

 Western painting has history and characteristic like these.

Paintings of history and myth were painted until 19^th century. However, in the low 19^th century, industrial revolution happened and people’s consciousness changed. So people got to paint landscapes. And there is other important event in relationship between Western painting and Japanese painting in the late 19^th century. It was Paris Exposition. A lot of works of Japanese art were exhibited there. Especially, artist of Impressionists were influences by them. For example, vivid color of Ukiyo-e spurred study of color by western artist who started to have question artist’s training with industrial revolution.

Next, I want to point differences between Western painting and Japanese painting seen in history.

First of all, styles are different. Old Western painting was painted realistically and there were no line. However, old Japanese painting was not realistic and there were line. (See blog of week 2.)

Now motifs are different too. Painting of history and myth were painted traditionally in Western painting. Motif was mainly got and people in old Western painting. But got and people was not painted in old Japanese painting. Japanese were interested in natural motif. Old Japanese were preferred nature. For example, Hiroshige Utagawa who is artist of Ukiyo-e painted a lot of landscape. Vincent van Gogh who is artist Impressionists was touched by artist of Ukiyo-e.

 Western painting and Japanese painting are widely different these points. We can read these differences with seeing history. But there are common points too. Old Western painting and Japanese painting replaced photos. So Western painting was realistic. And a lot of landscapes were painted for people who could not go to separate locality in old Japanese painting.

Modern Western painting and Japanese painting work on each other.

That is all in this week. Did you understand differences between Japanese painting and Western painting? Next week, I’m going to introduce traditional technology of Japanese painting. It is how to use materials. Please look forward to next blog!


reference data: 「すぐわかる日本の美術」田中日佐夫

3. Materials

 Japanese painting has a lot of materials. I introduced history of Japanese painting last week. Materials of Japanese painting were used from of old. So I would like to introduce them in this week.









Colors

 （http://www.art-maruni.com/gazai/gansai/
kishoiwa/jpg/kissyou12set.jpg) ↓

 Colors that is used on Japanese painting is original colors of Japan. So they aren’t used other country. I take up representative colors.

 First, I explain mineral pigments. It is grains of rock and has from fine pigments to coarse pigments. Fine pigments are pale-colored, but coarse pigments are deep in color.

 Mineral pigments don’t fix without fixative. So when we use it, we have to use glue as fixative.
 Second, I explain dyed mud pigments(水干絵具). It has no grains and has thin board. It is used for undercoat. Comparing with mineral pigments, it is easy to fix on picture. How to use is the same as mineral pigments.
 Finally, I explain gohun(胡粉). Ingredients of it are shells. And it is kind of dyed mud pigments. Gohun is important on Japanese painting. It is used for undercoat and coloring. 

Papers


 Mashi (麻紙) is commonly used on Japanese painting. It is the paper that is made from making fiber of hemp. Especially, kumohada mashi(雲肌麻紙) is strong. So it is easy to paint thickly.

Paint brush

(http://item.shopping.c.yimg.jp/i/j/hakuoh_efd0020)

　Brushes of Japanese painting have all kinds of it. I introduce typical brushes.
 Fine-point brush(面相筆)
 This is the brush to paint fine line. It is use when we do kotsugaki(骨描き). Kotsugaki is work that paint no strength and weakness line.(I will introduce this detail on week 5.) This is the brush to paint mainly ink.
Color brush(彩色筆)
This is used frequent. And it is used to paint. Raw materials are mainly wool. So it is easy to absorb water
 Sokumyo(則妙) brush
 This brush can draw soft line because it has long tip.Raw materials mainly wool and hair of cat.

Other

Japanese painting has lot of some other materials.
 Sumi
There are work of kotsugaki on Japanese painting. Sumi is used for the work. It has an ink stick made from lamp soot and a torch smoke sumi. An ink stick made from lamp soot is made in Japan.
Glue
 We use glue to fix mineral pigments and dyed mud pigments. What is particularly commmon is sanzenbon nikawa(三千本膠three thousand glue). A component is protein. Bones and hides of animal contains collagen. Glue is made by boiling them to bring out the collagen and processing it. Mineral pigments and dyed mud pigments are used by dissolving glue in water.
  Decorative plate(絵皿)
 Mineral pigments and dyed mud pigments are dissolved on decorative plate. Size is various.
 Mortar and pestle
 Mineral pigments don’t have to grind however gohun and dyed mud pigments has to grind because they are thin board. A mortar and pestle use for the work.


There are a lot of other materials of Japanese painting. I introduced some of them I’m going to explain how to use them on week 5. Next week, I explain differences between Japanese painting and Western painting. Please look forward to next week.


reference date: (http://nihonga-style.com/gazaitotsukaikata.html)