Changes

==Background==

==Background==

''Nihonga'' emerged out of a reaction against movements to fully embrace Western painting styles and techniques as part of the surge towards modernity, discarding traditional Japanese painting as non-modern, as backwards and as being "of the past."

''Nihonga'' emerged out of a reaction against movements to fully embrace Western painting styles and techniques as part of the surge towards modernity, discarding traditional Japanese painting as non-modern, as backwards and as being "of the past." It was developed also, in part, out of a desire to establish a "national" form of painting.

It is important to note, however, that a great many artists produced works in both the ''Nihonga'' and ''yôga'' modes, studying in one first before switching to the other, or dabbling simultaneously in both. This was a time when the art world was highly politicized, with rivalries between Tokyo and Kyoto, and between various factions within both ''Nihonga'' and ''yôga''; art historian [[Ellen Conant]] has argued that the efforts of Fenollosa and Okakura polarized unnecessarily,<ref>Conant. p14.</ref> an influence that lasted at least until [[1907]], when Okakura served as a judge at the first [[Bunten|Ministry of Education Juried Exhibition]]. Yet, at the same time, many artists still had their feet in both ''Nihonga'' and ''yôga'' circles, or practiced one before switching to the other.

It is important to note, however, that a great many artists produced works in both the ''Nihonga'' and ''yôga'' modes, studying in one first before switching to the other, or dabbling simultaneously in both. This was a time when the art world was highly politicized, with rivalries between Tokyo and Kyoto, and between various factions within both ''Nihonga'' and ''yôga''; art historian [[Ellen Conant]] has argued that the efforts of Fenollosa and Okakura polarized unnecessarily,<ref>Conant. p14.</ref> an influence that lasted at least until [[1907]], when Okakura served as a judge at the first [[Bunten|Ministry of Education Juried Exhibition]]. Yet, at the same time, many artists still had their feet in both ''Nihonga'' and ''yôga'' circles, or practiced one before switching to the other.

While many artists continued to depict fully traditional (read: pre-Meiji) scenes, the 1920s saw a significant increase in the production of works depicting contemporary, modern life, and of portraits painted from life. [[Domoto Insho|Dômoto Inshô's]] "Hill" (1924) and [[Ikeda Yoson|Ikeda Yôson's]] "Snow in Osaka" (1928) are particularly well-known examples of this.

While many artists continued to depict fully traditional (read: pre-Meiji) scenes, the 1920s saw a significant increase in the production of works depicting contemporary, modern life, and of portraits painted from life. [[Domoto Insho|Dômoto Inshô's]] "Hill" (1924) and [[Ikeda Yoson|Ikeda Yôson's]] "Snow in Osaka" (1928) are particularly well-known examples of this.

===Kyoto Nihonga===

===Kyoto Nihonga===