Changes

Most of the most prominent ''Nihonga'' artists traveled, studied, and showed abroad. To name just a few examples, Kanô Hôgai's "Kannon as Merciful Mother" was shown at the Paris Salon in 1883, and Yokoyama Taikan and [[Hishida Shunso|Hishida Shunsô]] traveled to India in [[1903]] and to Europe and the US afterward, while [[Shimomura Kanzan]] studied in England, funded by the Ministry of Education.

Most of the most prominent ''Nihonga'' artists traveled, studied, and showed abroad. To name just a few examples, Kanô Hôgai's "Kannon as Merciful Mother" was shown at the Paris Salon in 1883, and Yokoyama Taikan and [[Hishida Shunso|Hishida Shunsô]] traveled to India in [[1903]] and to Europe and the US afterward, while [[Shimomura Kanzan]] studied in England, funded by the Ministry of Education.

Based on the Western model of the Salon, or juried exhibition, the [[Bunten]], or Ministry of Education Exhibition, was established in 1907. This and other exhibitions, many created as alternatives to the Bunten, as many artists saw themselves excluded due to political rivalries and officials' tastes, ran annually or semi-annually, becoming the chief venues for national art. Artists throughout the country strove to be seen at the Bunten, or other national shows, and more local shows declined.

Based on the Western model of the Salon, or juried exhibition, the [[Bunten]], or Ministry of Education Exhibition, was established in 1907. This and other exhibitions, many created as alternatives to the Bunten, as many artists saw themselves excluded due to political rivalries and officials' tastes, ran annually or semi-annually, becoming the chief venues for national art. Artists throughout the country strove to be seen at the Bunten, or other national shows, and more local shows declined. The Bunten was initially divided into sections for ''Nihonga'', ''yôga'', and sculpture, with separate judges (and display galleries) for each section. Many scholars identify this as having impeded creative development and cross-interactions between traditional and Western styles and techniques, and as having polarized the art world unnecessarily, forcing artists (and individual works) to be seen as either ''Nihonga'' or ''yôga'', one side or the other.

 

The Bunten was initially divided into sections for ''Nihonga'', ''yôga'', and sculpture, with separate judges (and display galleries) for each section. Many scholars identify this as having impeded creative development and cross-interactions between traditional and Western styles and techniques, and as having polarized the art world unnecessarily, forcing artists (and individual works) to be seen as either ''Nihonga'' or ''yôga'', one side or the other.

Some famous paintings of this period include the hanging scroll landscape "White Clouds, Red Leaves" (1890) by Hashimoto Gahô and "Fallen Leaves" (1909) by Hishida Shunsô, a pair of two-panel folding screens (''[[byobu|byôbu]]''), both of which display traditional themes in traditional formats in traditional media, with a combination of new, Western techniques and stylistic elements with those taken from the Kanô, Rinpa, and other schools. Yokoyama Taikan's "Floating Lights" (1909), a hanging scroll painting in mineral pigments on silk, employs traditional ''[[bijinga]]'' conventions to depict a scene in India, featuring Indian women in Indian garments (albeit with very pale faces and Japanese-looking features).  

Some famous paintings of this period include the hanging scroll landscape "White Clouds, Red Leaves" (1890) by Hashimoto Gahô and "Fallen Leaves" (1909) by Hishida Shunsô, a pair of two-panel folding screens (''[[byobu|byôbu]]''), both of which display traditional themes in traditional formats in traditional media, with a combination of new, Western techniques and stylistic elements with those taken from the Kanô, Rinpa, and other schools. Yokoyama Taikan's "Floating Lights" (1909), a hanging scroll painting in mineral pigments on silk, employs traditional ''[[bijinga]]'' conventions to depict a scene in India, featuring Indian women in Indian garments (albeit with very pale faces and Japanese-looking features).  

===The Second Generation: 1910s-1930s===

===The Second Generation: 1910s-1930s===

After Okakura's death in 1913, Taikan, Shimomura Kanzan, and a number of other artists took over as the leaders of the movement in Tokyo. With Gahô and Shunsô also having died by this time, Taikan lost influence, and was expelled from the jury of the Bunten in 1914. Revitalizing the ''Nihon Bijutsu-in'', he and his fellows then organized, alternative annual juried exhibitions known as the [[Inten]].

After Okakura's death in 1913, Taikan, Shimomura Kanzan, and a number of other artists took over as the leaders of the movement in Tokyo. With Gahô and Shunsô also having died by this time, Taikan lost influence, and was expelled from the jury of the Bunten in 1914. Revitalizing the ''Nihon Bijutsu-in'', he and his fellows then organized, alternative annual juried exhibitions known as the [[Inten]].