Changes

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

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

 

The term ''Nihonga'', meaning "Japanese painting," came into regular usage within the art community from around [[1883]], being used especially in order to contrast works in traditional media with ''yôga'', that is, works in Western media, especially oils. The first appearance of the term in a dictionary was in 1914, in the ''Bijutsu jiten'' ("Encyclopedia of Art") compiled by [[Ishii Hakutei]], [[Kuroda Hoshin|Kuroda Hôshin]], and [[Yuki Somei|Yûki Somei]].

The term ''Nihonga'', meaning "Japanese painting," came into regular usage within the art community from around [[1883]], being used especially in order to contrast works in traditional media with ''yôga'', that is, works in Western media, especially oils. The first appearance of the term in a dictionary was in 1914, in the ''Bijutsu jiten'' ("Encyclopedia of Art") compiled by [[Ishii Hakutei]], [[Kuroda Hoshin|Kuroda Hôshin]], and [[Yuki Somei|Yûki Somei]].

==Wartime Nihonga (1930s-1945)==

==Wartime Nihonga (1930s-1945)==

 

The extent to which one artist or another supported the militarism of the 1930s-early 40s remains hotly debated, as can be said equally for writers and countless other members of society. Beginning in the late 1930s, art exhibitions were limited almost exclusively to those organized by the government and showing patriotic works. Many prominent ''Nihonga'' artists continued to produce works during this time, shifting to patriotic themes such as depictions of [[Mt. Fuji]], yet, for many of them it is argued that to one extent or another they were opposed to the war and the militaristic direction the country had taken, but produced these sorts of works in order to make a living, and to avoid attracting attention as detractors. It is of course natural that artists would, after the war, claim they never supported it to begin with, for fear of being ostracized or seen in a bad light in the reversed political climate of the post-war; and it is of course natural for scholars, art critics, and the like to want to believe that their favorite pre-war artists could not be implicated in the ultranationalism and militarism of the wartime period.

The extent to which one artist or another supported the militarism of the 1930s-early 40s remains hotly debated, as can be said equally for writers and countless other members of society. Beginning in the late 1930s, art exhibitions were limited almost exclusively to those organized by the government and showing patriotic works. Many prominent ''Nihonga'' artists continued to produce works during this time, shifting to patriotic themes such as depictions of [[Mt. Fuji]], yet, for many of them it is argued that to one extent or another they were opposed to the war and the militaristic direction the country had taken, but produced these sorts of works in order to make a living, and to avoid attracting attention as detractors. It is of course natural that artists would, after the war, claim they never supported it to begin with, for fear of being ostracized or seen in a bad light in the reversed political climate of the post-war; and it is of course natural for scholars, art critics, and the like to want to believe that their favorite pre-war artists could not be implicated in the ultranationalism and militarism of the wartime period.

==Post-War Nihonga (1945 to present)==

==Post-War Nihonga (1945 to present)==

In the years immediately after the end of World War II, artists sought to put the ultra-nationalism and propagandistic implications of the previous decade or so behind them, and to return to what ''Nihonga'' had been in the pre-war. Kawabata Ryûshi made a number of trips within Japan, including retracing the famous journey recounted in [[Matsuo Basho|Matsuo Bashô's]] collection of [[haiku]] "''[[Oku no Hosomichi|Ôku no Hosomichi]]''", and painting scenes of historical or cultural importance, such as the Yômeimon of [[Nikko Toshogu|Nikkô Tôshôgû]] and [[Ama-no-Hashidate]], recalling pre-war works such as Kobayashi Kokei's 1916 painting of the Byôdôin, entitled "Amida-dô", mentioned above.

In the years immediately after the end of World War II, artists sought to put the ultra-nationalism and propagandistic implications of the previous decade or so behind them, and to return to what ''Nihonga'' had been in the pre-war. Kawabata Ryûshi made a number of trips within Japan, including retracing the famous journey recounted in [[Matsuo Basho|Matsuo Bashô's]] collection of [[haiku]] "''[[Oku no Hosomichi|Ôku no Hosomichi]]''", and painting scenes of historical or cultural importance, such as the Yômeimon of [[Nikko Toshogu|Nikkô Tôshôgû]] and [[Ama-no-Hashidate]], recalling pre-war works such as Kobayashi Kokei's 1916 painting of the Byôdôin, entitled "Amida-dô", mentioned above.

The 1960s thus saw a profound shift in ''Nihonga'', as abstraction began to have a much more powerful impact upon the more prominent ''Nihonga'' artists. Though many local artists and hobbyists continued to produce ink paintings as they always had, many of those more actively engaged in the national and international art world, such as Dômoto Inshô, now began to produce abstract works largely indistinguishable from those created by their Western counterparts (and Japanese counterparts working in Western media) except in media.

The 1960s thus saw a profound shift in ''Nihonga'', as abstraction began to have a much more powerful impact upon the more prominent ''Nihonga'' artists. Though many local artists and hobbyists continued to produce ink paintings as they always had, many of those more actively engaged in the national and international art world, such as Dômoto Inshô, now began to produce abstract works largely indistinguishable from those created by their Western counterparts (and Japanese counterparts working in Western media) except in media.

Though many in Japan continue to produce works in traditional media, and/or on traditional themes, calling themselves ''Nihonga'' artists, and being shown in shows which bill them and their work as such, very few if any are prominent in the national or international art world. While art associations continue to rent out spaces in Kyoto and elsewhere to show their works, curated exhibitions of ''Nihonga'' at major art museums in Japan and overseas focus primarily on pre-war artworks.

Though many in Japan continue to produce works in traditional media, and/or on traditional themes, calling themselves ''Nihonga'' artists, and being shown in shows which bill them and their work as such, very few if any are prominent in the national or international art world. Many are still commissioned by major Buddhist temples or other traditional organizations to produce decorative works for their institutions. But, while art associations continue to rent out spaces in Kyoto and elsewhere to show their works, curated exhibitions of ''Nihonga'' at major art museums in Japan and overseas focus primarily on pre-war artworks.

==Neo-Nihonga==

==Neo-Nihonga==

The 1990s to 2000s has seen the rise of what might be termed "neo-Nihonga," as many artists have turned once again to seeking to depict distinctively Japanese themes and subjects in their work, emphasizing or exploring Japanese identity and celebrating Japanese artistic traditions. Though these artists, including Yamaguchi Akira, Tenmyouya Hisashi, and Yamamoto Tarô, tend to work more in oils, digital editing, and other non-traditional media, their works heavily incorporate traditional styles, and references to specific famous historical works, combining these with references to contemporary commercial culture by way of social commentary, or simply fun juxtapositions and explorations of contemporary Japanese identity.

The 1990s to 2000s has seen the rise of what might be termed "neo-Nihonga," as many artists have turned once again to seeking to depict distinctively Japanese themes and subjects in their work, emphasizing or exploring Japanese identity and celebrating Japanese artistic traditions. Though these artists, including Yamaguchi Akira, Tenmyouya Hisashi, and Yamamoto Tarô, tend to work more in oils, digital editing, and other non-traditional media, their works heavily incorporate traditional styles, and references to specific famous historical works, combining these with references to contemporary commercial culture by way of social commentary, or simply fun juxtapositions and explorations of contemporary Japanese identity.

==References==

==References==

*Conant, Ellen (ed.). ''Nihonga: Transcending the Past''. The Saint Louis Art Museum, 1995.

*Ellen Conant (ed.). ''Nihonga: Transcending the Past''. The Saint Louis Art Museum, 1995.

*Mason, Penelope. ''History of Japanese Art''. Second Edition. Upper Saddle River, NJ: Pearson Prentice Hall, 2005. pp363-370.

*Penelope Mason. ''History of Japanese Art''. Second Edition. Upper Saddle River, NJ: Pearson Prentice Hall, 2005. pp363-370.

*Morioka, Michiyo and Paul Berry. ''Modern Masters of Kyoto''. Seattle Art Museum, 2000.

*Morioka Michiyo and Paul Berry. ''Modern Masters of Kyoto''. Seattle Art Museum, 2000.

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[[Category:Art and Architecture]]

[[Category:Art and Architecture]]

[[Category:Meiji Period]]

[[Category:Meiji Period]]