***** Shukado Newsletter Vol.15 My First Trip to Moscow *****
***** http://wwww.japanese-finearts.com/ June 25th,2008 *****
Dear Customers and Friends,
Hello! This is Chiaki sending Shukado Newsletter vol.15. I was away from office earlier to see the Moscow Art Fair.
After the Soviet Union collapsed about 15 years ago, Russia went under the political and economic turmoil then recently it is enjoying rapid economic growth.
Among the inbound overseas tourists in Japan, Russians and Chinese tourists are dramatically increasing and now we cannot ignore their economic impact.
I had been longing for visiting there to see what is going on in Russia where once people suffered from the food shortage after the collapse of its economy but now they are enjoying glorious economic growth.
As our staff Ikuko-san had been in Russia for many years in the past and I heard about my relative's company, Shibunkaku's participation in the Moscow Art Fair, I decided to see the fair with my own eyes.
On 31st May, I arrived at the Sheremetyevo II airport in the evening and my adventurous trip began with a lot of surprises.
I had heard Sheremetyevo II is one of the worst airport in the world. ...That was exactly truth. Genarally, most international airports are very modern and well designed for the natinal pride, but this airport is rather a kind of prison...dirty and unfriendly. But that was expected from the first, so I did not be surprised. Fortunately quickly finished the passport control,passed away unlicensed taxi drivers surrounding the passengers,we quickly walked and got on a taxi which we reserved through a travel agency.
Let me start with my trivial surprises I experienced in Moscow. Those things are so trivial that they would not be taken up by media but I found that they are very impressive.
My Trivial Surprise 1: Snow in Moscow in June?
When I saw white things piled up on the ground, I thought it snowed in Moscow even in June. But they were not snow! They were fluff of Poplars. Many of Muscovities are allergic to them. They can be seen in early summer.
My Trivial Surprise 2: The Speed of Escalators
I was surprised by the speed of the escalators in Moscow. They were so fast that my feet were nearly carried off by the step of the escalator. I have never seen such fact escalators in other countries I have visited.
Guessing from this, I believe that Moscovities must be the most impetuous in
the world.
My Trivial Surprise 3: Everything is so BIG!
Everything in Russia is so big. The buildings are enormous and ceiling and a door are so high. When I stayed in a hotel there, I was impressed by the height of the ceiling and the gigantic door. Although I did not measure their sizes with a scale, I guess the ceiling seemed to be nearly 4 meters high and the door 3 meters high.
Before I went to Russia, I was wondering why Russian billionaires always want to have extremely large rooms and use helicopters. After my visit to Moscow, I found that such acts are coming from their surrounding environment.
My Trivial Surprise 4: Unlicensed taxis
Unlicensed taxis is very general in Moscow. People in Moscow could go everywhere by lifting a hand by the road to stop a car drived by a non-professinal driver. Then they negotiate him where to go and how much.
I heard this fact from my staff Ikuko, and it was felt very convenient for us and we could go to many places in Moscow by this way.
After encountering such surprises, I realized that I will not able to understand things without seeing with my naked eyes.
I would like to write details of the Moscow Art Fair in the next newsletter.
Well, let me introduce our latest recommended items before I wrap up this newsletter.
*******************
New Arrivals
*******************
Tanomura Chokunyu, Hana-jyu-shi/Flowes, Beautiful Nanping School Painting Scroll
http://www.japanese-finearts.com/item/list2/108000660/
Tanomura Chokunyu (1814-1907) was born in Oita, southern Japan. He is one of the representative Nanga painters. Nanga is a painting style adopting some Chinese flavors.
He initially used the name Kotora then named himself Chokunyu. He was taught by his uncle of the Kano school, Okamoto Baisetsu and Tanomura Chukuden. Chikuden found his talent and he succeeded family name of Tanomura. Chokunyu made a great contribution to the foundation of the modern Nanga paintings.
This is a flower painting of the Nanpin school style, which is famous for beautiful shades and colors. This artwork is not a typical painting of Chokunyu's. He is the founder of modern Nanga and well-known for Indian ink paintings.
He created this artwork when he was 36. Details of flower petals are skillfully drawn with fine lines and the details of the flowers are decoratively and neatly painted. This artwork evokes viewers of the feelings of his passion for pursuit of different painting skills.
And More:
Kosugi Hoan "A Witch", Framed Painting
http://www.japanese-finearts.com/item/list2/108000420/
Watanabe Seitei "Autumn Plants", Kakejiku Hanging Scroll
http://www.japanese-finearts.com/item/list2/108001740/
Utagawa Kunisada (Toyokuni III), Genji-ko no zu Shii-ga-moto, The Tale of Genji, Ukiyo-e Print
http://www.japanese-finearts.com/item/list2.php?number=1080026104&spid=S4859fa81ea2c0
That is all for this week.
Thank you for taking your precious time for reading this newsletter to the end.
Have a wonderful week!
Chiaki Tanaka, President, Shukado Co., Ltd.
**We are sending Shukado News Letter - the information of
new arrivals.
If you would like to join our mailing list, please visit here:
http://www.japanese-finearts.com/mail/join.htm
backnumber:
http://japanese-finearts.blogspot.com/
---------------------------------------------
Japanese Fine Arts.com by SHUKADO
Address: Sone Building 7F, Ginza 6-4-8, Chuo-ku, Tokyo 104-0061
TEL:(international number)+81-3-3569-3620 FAX:+81-3-3569-3621
email: info@japanese-finearts.com
http://www.japanese-finearts.com/
ONLINE GALLERY SYUKADO (Japanese)
http://www.syukado.jp
master@syukado.jp
Shukado President's Blog(including backnumber of Shukado News Letters)
*Blogger site
http://japanese-finearts.blogspot.com/
*Ichiroya site
http://www.ichiroya.com/blog/Chiaki/
Thursday, June 26, 2008
Monday, June 9, 2008
Shukado Newsletter vol.14. Westernization of Ukiyo-e and Megane-e
Hello! This is Sachiko sending Shukado Newsletter vol.14.
Rainy season has just started in Japan. Rainy days make us feel a little bit down but colorful hydrangea lifts up our spirit. (see the photos of them at the president's blog)
Let me continue the story of ukiyo-e from the newsletter vol.12.
It is said that the massive flows of Japanese fine arts happened twice in the past: at the time between the end of the Edo Era and the Meiji era and just after the WWII.
Some people say (in particular Japanese people) that it is very pity to see so many great works of ukiyo-e prints can only be seen overseas. However, the bright side of the big flow of Japanese fine arts is that such wonderful pieces gave a big influence on the overseas artists and made the people overseas more interested in Japanese culture thus the recognition of Japan as a nation was enhanced through the Japonism boom.
Japonism boom gave a strong impact on artists such as Claude Mone, Van Gogh and Henri de Toulouse-Lautrec. Henri Riviere created "Les 36 vues de la Tour Eiffle" (36 Views of Eiffle Tour) as an homage to Hokusai’s 36 Views of Mt. Fuji.
Why ukiyo-e which was not valued so much could gain such popularity in other countries?
There seems to be two reasons for this.
First, the quality of ukiyo-e prints for their prices. People in Europe were surprised by the printing quality of ukiyo-e. The great team work among an ukiyo-e artist, hori-shi (wood-block carver) and suiri-shi (printer). If one of the three lacks in skills, great work of ukiyo-e can not be created. Despite their quality, ukiyo-e served as an entertainment for commoners in the Edo era; therefore their prices were set at a low range. Tokugawa shogunate also tried to restrict on their prices.
Second, it was due to "westernization of ukiyo-e". Ukiyo-e artists had already introduced western techniques of perspective in the 18th century. Although western style paintings were imported to Japan together with missionaries in the 16th century, only a few artists were influenced by them and Japanese artists did not absorb western techniques at that time. In contract with the boom of Nan-ga (Chinese style painting), Japanese people did not show much interest in western style paintings.
However, Megane-e boom changed this situation. Megane-e, a painting designed to be viewed through an apparatus, which further heightens an illusion of depth created became very popular among Japanese people. The earliest apparatus used in Japan is thought to have arrived in Nagasaki via China from Holland in 1718. Influenced by the megane-e, ukiyo-e artist Okumura Masanobu (1686-1764) created uki-e (floating picture) or kubomi-e using Western techniques of perspectives and shading. This was long before Maruyama Oukyo created his version of megane-e paintings. Masanobu's prints gave a big impact on the upcoming ukiyo-e artists including Hokusai, Hiroshige and others. Hokusai tried to re-create effects of shading and perspectives in his Hiragana Rakkan Series where rakkan is written in hiragana and placed with 90-degree turn to make them look like alphabets. (see the image of Hokusai's Kudan Ushigafuchi at the president's blog)
An ukiyo-e scholar Tadashi Kobayashi wrote in his book that this introduction of western techniques into ukiyo-e made a foundation of Japonism to happen in Europe. Kobayashi also mentioned that German resident physician and scientist Philipp Franz Balthasar von Siebold (he disguised himself as Dutch) who stayed in Dejima, Nagasaki, commissioned Hokusai to create paintings depicting people in Edo because Hokusai used a lot of western techniques of perspectives and his paintings would be easy to be accepted by western audience.
For those two reasons, many ukiyo-e prints were exported to Europe and the US and accelerated by Japonism boom and the financial problems of the daimyo lords after the collapse of Tokugawa shogunate, big flow of ukiyo-e prints occurred in the Meiji era.
Yasumasa Oka wrote in his book titled "Megane-e Shin-kou" that while Ukiyo-e artists introduced western perspectives and shading to some extent (mainly liner-perspectives), they did not introduce modeling techniques and maintained flat two dimensional painting styles; therefore people in Europe found ukiyo-e prints very exotic but easy to absorb into their culture.
How interesting to know European culture and Japanese culture influenced each other despite geographical distance between them and ukiyo-e artists' and European artists' strong desire to introduce new things.
Well, let me introduce our latest recommended items before I wrap up this newsletter.
*********************************************************
New Arrivals:
*********************************************************
Takashima Hokkai, Summer and Winter Landscape (diptych)
http://www.japanese-finearts.com/item/list2/108000600/
Takashima Hokkai (1850-1931) who used to be an influential geologist but later converted to a painter created this art work.
Hokkai introduced Japanese-style paintings in Nancy, France when he studied there and he also strongly supported Art Nouveau movement enough to receive the order of educational merit from French government in 1887.
Later as a painter, he flourished in center of Japanese painting circles while he studied in the United States as a scholar.
Although his water ink landscape is similar to Hashimoto Gaho, clear shading he used suggests modernity and uniqueness.
And more:
Imao Keinen, A Parakeet on a Pine Tree
http://www.japanese-finearts.com/item/list2/108000610/
Otani Kubutsu's (Koen) Hanging Scrolls, Cock, Japanese Plum and Calligraphic Work
http://www.japanese-finearts.com/item/list2/108000083/
http://www.japanese-finearts.com/item/list2/108000092/
http://www.japanese-finearts.com/item/list2/108000093/
That is all for this week.
Thank you for taking your precious time for reading this newsletter to the end.
Have a wonderful week!
Sachiko & Chiaki
**We are sending Shukado News Letter - the information of
new arrivals.
If you would like to join our mailing list, please visit here:
http://www.japanese-finearts.com/mail/join.htm
backnumber:
http://japanese-finearts.blogspot.com/
---------------------------------------------
Japanese Fine Arts.com by SHUKADO
Address: Sone Building 7F, Ginza 6-4-8, Chuo-ku, Tokyo 104-0061
TEL:(international number)+81-3-3569-3620 FAX:+81-3-3569-3621
email: info@japanese-finearts.com
http://www.japanese-finearts.com/
ONLINE GALLERY SYUKADO (Japanese)
http://www.syukado.jp/
master@syukado.jp
Shukado President's Blog(including backnumber of Shukado News Letters)
*Blogger site
http://japanese-finearts.blogspot.com/
*Ichiroya site
http://www.ichiroya.com/blog/Chiaki/
Rainy season has just started in Japan. Rainy days make us feel a little bit down but colorful hydrangea lifts up our spirit. (see the photos of them at the president's blog)
Let me continue the story of ukiyo-e from the newsletter vol.12.
It is said that the massive flows of Japanese fine arts happened twice in the past: at the time between the end of the Edo Era and the Meiji era and just after the WWII.
Some people say (in particular Japanese people) that it is very pity to see so many great works of ukiyo-e prints can only be seen overseas. However, the bright side of the big flow of Japanese fine arts is that such wonderful pieces gave a big influence on the overseas artists and made the people overseas more interested in Japanese culture thus the recognition of Japan as a nation was enhanced through the Japonism boom.
Japonism boom gave a strong impact on artists such as Claude Mone, Van Gogh and Henri de Toulouse-Lautrec. Henri Riviere created "Les 36 vues de la Tour Eiffle" (36 Views of Eiffle Tour) as an homage to Hokusai’s 36 Views of Mt. Fuji.
Why ukiyo-e which was not valued so much could gain such popularity in other countries?
There seems to be two reasons for this.
First, the quality of ukiyo-e prints for their prices. People in Europe were surprised by the printing quality of ukiyo-e. The great team work among an ukiyo-e artist, hori-shi (wood-block carver) and suiri-shi (printer). If one of the three lacks in skills, great work of ukiyo-e can not be created. Despite their quality, ukiyo-e served as an entertainment for commoners in the Edo era; therefore their prices were set at a low range. Tokugawa shogunate also tried to restrict on their prices.
Second, it was due to "westernization of ukiyo-e". Ukiyo-e artists had already introduced western techniques of perspective in the 18th century. Although western style paintings were imported to Japan together with missionaries in the 16th century, only a few artists were influenced by them and Japanese artists did not absorb western techniques at that time. In contract with the boom of Nan-ga (Chinese style painting), Japanese people did not show much interest in western style paintings.
However, Megane-e boom changed this situation. Megane-e, a painting designed to be viewed through an apparatus, which further heightens an illusion of depth created became very popular among Japanese people. The earliest apparatus used in Japan is thought to have arrived in Nagasaki via China from Holland in 1718. Influenced by the megane-e, ukiyo-e artist Okumura Masanobu (1686-1764) created uki-e (floating picture) or kubomi-e using Western techniques of perspectives and shading. This was long before Maruyama Oukyo created his version of megane-e paintings. Masanobu's prints gave a big impact on the upcoming ukiyo-e artists including Hokusai, Hiroshige and others. Hokusai tried to re-create effects of shading and perspectives in his Hiragana Rakkan Series where rakkan is written in hiragana and placed with 90-degree turn to make them look like alphabets. (see the image of Hokusai's Kudan Ushigafuchi at the president's blog)
An ukiyo-e scholar Tadashi Kobayashi wrote in his book that this introduction of western techniques into ukiyo-e made a foundation of Japonism to happen in Europe. Kobayashi also mentioned that German resident physician and scientist Philipp Franz Balthasar von Siebold (he disguised himself as Dutch) who stayed in Dejima, Nagasaki, commissioned Hokusai to create paintings depicting people in Edo because Hokusai used a lot of western techniques of perspectives and his paintings would be easy to be accepted by western audience.
For those two reasons, many ukiyo-e prints were exported to Europe and the US and accelerated by Japonism boom and the financial problems of the daimyo lords after the collapse of Tokugawa shogunate, big flow of ukiyo-e prints occurred in the Meiji era.
Yasumasa Oka wrote in his book titled "Megane-e Shin-kou" that while Ukiyo-e artists introduced western perspectives and shading to some extent (mainly liner-perspectives), they did not introduce modeling techniques and maintained flat two dimensional painting styles; therefore people in Europe found ukiyo-e prints very exotic but easy to absorb into their culture.
How interesting to know European culture and Japanese culture influenced each other despite geographical distance between them and ukiyo-e artists' and European artists' strong desire to introduce new things.
Well, let me introduce our latest recommended items before I wrap up this newsletter.
*********************************************************
New Arrivals:
*********************************************************
Takashima Hokkai, Summer and Winter Landscape (diptych)
http://www.japanese-finearts.com/item/list2/108000600/
Takashima Hokkai (1850-1931) who used to be an influential geologist but later converted to a painter created this art work.
Hokkai introduced Japanese-style paintings in Nancy, France when he studied there and he also strongly supported Art Nouveau movement enough to receive the order of educational merit from French government in 1887.
Later as a painter, he flourished in center of Japanese painting circles while he studied in the United States as a scholar.
Although his water ink landscape is similar to Hashimoto Gaho, clear shading he used suggests modernity and uniqueness.
And more:
Imao Keinen, A Parakeet on a Pine Tree
http://www.japanese-finearts.com/item/list2/108000610/
Otani Kubutsu's (Koen) Hanging Scrolls, Cock, Japanese Plum and Calligraphic Work
http://www.japanese-finearts.com/item/list2/108000083/
http://www.japanese-finearts.com/item/list2/108000092/
http://www.japanese-finearts.com/item/list2/108000093/
That is all for this week.
Thank you for taking your precious time for reading this newsletter to the end.
Have a wonderful week!
Sachiko & Chiaki
**We are sending Shukado News Letter - the information of
new arrivals.
If you would like to join our mailing list, please visit here:
http://www.japanese-finearts.com/mail/join.htm
backnumber:
http://japanese-finearts.blogspot.com/
---------------------------------------------
Japanese Fine Arts.com by SHUKADO
Address: Sone Building 7F, Ginza 6-4-8, Chuo-ku, Tokyo 104-0061
TEL:(international number)+81-3-3569-3620 FAX:+81-3-3569-3621
email: info@japanese-finearts.com
http://www.japanese-finearts.com/
ONLINE GALLERY SYUKADO (Japanese)
http://www.syukado.jp/
master@syukado.jp
Shukado President's Blog(including backnumber of Shukado News Letters)
*Blogger site
http://japanese-finearts.blogspot.com/
*Ichiroya site
http://www.ichiroya.com/blog/Chiaki/
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