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An early 13th century Statue sculpted to be Fudō Myōō the Immovable Wisdom King

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Court culture in Japan was dominant over the arts that had emerged around the country following their closure from outside influence. The Fujiwara ruled with a nominated regent and the capital was moved to Heiankyo which became The capital of peace and tranquility. Court culture came to dominate the arts and led to a complete shift in the arts of Japan. The Japanese developed their own writing system which allowed for their individualistic culture to flourish. Poetry, art and other activities of expression were practiced by the nobility of the time. In particular the women were unable to see men  who they weren’t related to and were shut indoors. They wore many layers of silk, powdered faces and blackened teeth. The layers of silk were so heavy they required assistance from Ladies in waiting to move around. They became extremely isolated and began to develop monogatari or "tales told ''. More than 1,000 aristocrats lived within the capital and the women were largely forced to be indoors and not be seen by any men other than the ones who were related to them. The Japanese felt they were living in the age of Mappo, or despair. Genshin, a monk, described to them how they needed to praise Amida in order to be taken and be reborn in western paradise. Amida would personally come riding down on clouds and bring the souls of people before they had died. From there the soul would be carried to the Western land of paradise.

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A long continuous scroll depicting animals as humans.

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 Choju jinbutsu giga Scrolls of Frolicking Animals and Humans Heian Period 12th-13th Century, Japan

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 Choju jinbutsu giga Scrolls of Frolicking Animals and Humans Heian Period 12th-13th Century, Japan

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Set of four scrolls, with an unidentified author, however the one pictured above is the first in the series and showcases animals partaking in everyday human activities. This is done through a continuous stretch of images with no writing whatsoever. This can range from bathing, to wrestling or even an archery contest. These scrolls are drawn in the otoko-e style, otherwise known as men's style and have expressive gestures, normal everyday life activities and groups from all ages and classes being depicted. The animals are expressive and dynamic, and not reserved in their motions. This makes the painting feel very energetic and busy. It also uses speech clouds to indicate whether an animal is talking out loud or not, something not yet seen in the paintings of the time. The style differs very much from the onna-e which utilized much more introverted imagery with the scene playing a vital role in expressing the mood of the situations that unfolded. It was done in a monochromatic black and white color scheme with no other colors present. The landscapes are simplistic and not immensely complex, varying from small rolling hills to ponds and marshes. Monumental landscapes aren’t present either, suggesting this painting has far less Chinese influence, with the animals taking the foreground and being the focal point. Overall, I find it to be a very interesting narrative that could have been in jest or a subtle jab at the way people practiced religion, with the nods to the wealth the leaders gained as donations as a way to improve the karma.

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A long, vertical, hanging scroll depicting a steep, craggy, mountain with trees of varying kinds sparsely blanketing it.

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Wang Meng, The Simple Retreat Yuan Dynasty-Early Ming Dynasty, 13th Century, China

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Wang Meng, The Simple Retreat Yuan Dynasty-Early Ming Dynasty, 13th Century, China

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Wang Meng was a hermit in life after retreating from the rebellions that swarmed China during his lifetime. He hid away in the mountains and painted landscapes reminiscent of the areas in which he lived.Streams can be seen winding down the rocky sides and within crevices. Scholars who live in the mountainous refuge are painted in various locations. A man sits at the front entrance, while a pair of deer and a man approach from the uneven path. Within the house, another person and a crane are standing in the open and further up the mountain's precipitous side lies another building. The stream pools at the base of the mountain in a pond. Wang Meng is known as one of the Four Masters of the Yuan Dynasty, and was born into a prominent art family, being the grandson of Zhao Mengfu of the Song Dynasty. Artists of this time are known to have moved into more reclusive locales, due to the Mongols invading, and painted primarily landscapes and scenic images. Wang Meng may have seen people doing this himself or may have even painted this as a way to reflect on his own life. Wang painted “The Simple Retreat” with a vast number of details, knots on tree trunks can be seen, and bark is cracked and segmented. washed out mountain peaks in the background just from the sides of the centerpiece, blue hues show distance and clouds hang under them. The style seems to be very similar to those of the time with washed out colors and when color is present it really pops out, such as with the leaves on the nearest trees littering the sides of the path or peppering the sides of the hills. This amount of detail is astounding and brings life into the piece and helps to spark imaginative views of the region in which scholars hid away during the Yuan Dynasty.

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This handscroll depicts monks being dismembered by demons on tables.

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Hell of Dismemberment, Hand Scroll 13th Century, Kamakura period, Japan

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Hell of Dismemberment, Hand Scroll 13th Century, Kamakura period, Japan

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After the Genpei Civil War, people had become scarred by the level of brutality they had witnessed and became desensitized. Pessimism began to set in, however Genshin sought to outline exactly how bad the suffering could be if people didn’t avoid it. Rokudo-e utilized a grotesque realism and were effective at showing a horrifying future awaiting those that did not obey the laws of Buddhism. Hells of all kinds and the levels of punishment were outlined and painted to give an idea of what may await them if they committed crimes. This painting depicts monks being punished for any wrongdoing they may have committed in their past lives and are now being tortured indefinitely. The monks are cowering in small groups, huddled together. The flesh is grounded down into bowls and the monks are reborn again only to be dismembered as before. The demons are shown reveling in the endless torture and smile as they work. The Air above is painted as though it were covered in a dense black cloud, giving a suffocating aura to the image. Washes are applied in repeat in order to build up color and tone.  The monks are completely naked, and frail, too weak to do anything about their demise. They appear starved and emaciated, not having experienced the sensation of food for an eternity. This image paints a horrific picture and is very unsettling. In my eyes it achieves its goal of showing a bleak fate for those that don't heed its warning.

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An image was painted on a handscroll in 1310, depicting two spindly pines enveloped by large boulders on an otherwise barren segment of land.

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Zhao Mengfu, Twin Pines, Level Distance, Yuan Dynasty 14th Century, China

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Zhao Mengfu, Twin Pines, Level Distance, Yuan Dynasty 14th Century, China

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Zhao Mengfu was an artist who worked for the Court after it had been invaded by the Mongols, and was disowned by everyone that knew him.  The pine trees standing in a desolate place are striking for imagery and likely have a message behind them. Beyond the small island lies a small boat skimming across the water in-between it and the strip in the horizon. Zhao Mengfu effectively uses empty space in the midground, with diminishing size being exercised as well. In the distance along the horizon lie more scraggly trees and land devoid of much life. Beyond that are mountains with patches of more trees. The areas lacking any painting likely represent water, however this feels like a very dry painting. The trees are sparse and without much vegetation and look worn down. From what I could research, pine trees represent strength and survival, so Zhao Mengfu may have made them the subject of this painting as a way to represent the resolve of the Chinese people under the Mongol rule, or even his own time being disowned by his family and friends. The painting utilizes splayed brush patterns for the needles, and dry patterns for the landscapes surrounding the trees such as the rocks and cliffsides, and the linework is thin and narrow. No colors beyond black and the shade of the paper are applied. This ties together to make a crushing atmosphere in my eyes with little to no joy in the current environment and an arid place.

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A picture painted onto a fan with a poem inscribed on the right side, for poet Chen Ruzhi.

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Wang Meng, Sparse trees and Pavilion, Yuan Dynasty, 14th Century, China

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Wang Meng, Sparse trees and Pavilion, Yuan Dynasty, 14th Century, China

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The image depicts a man under a thatch roof pavilion with some tall trees in the foreground. The person gazes beyond the view of the pavilion, not unlike the Ma Yuan's or Wang Xizhi's paintings, however no attendant is present. Dry Strokes are made along the ground with the appearance of textured earth or even grass blades flattened to the ground. The trees are drawn to be full of life with different canopies layering over one another and small patches of grasses throughout. The rocks have a great deal of texture due to the hemp-fiber brush strokes, the leaves of the trees are done in varying styles, such as the drooping slender leaves comparable to those of Ni Zan's, another with washes faded in to feel very full and compact with no light or background peeking through. The branches are given definite shape and are bold in contrast to the fainter leaves, beyond that there is not much space left completely open with the trees taking up a vast majority of the painting and the pavilion filling in below the canopies. The background is likely left open due to the small size of the canvas, being a fan, and the painting feels very front oriented with many details being given to the foreground. The inscription describes the locale and the atmosphere of the painting, discussing wind rustling leaves, and mountain rains encompassing the grotto in the afternoon. Wang Meng utilizes much of the space on the fan with a little left to the interpretation in the background but not much else. He filled up a great deal of the fan with lots of details and texture.

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A hanging scroll painted by Shen Zhou, which showcases a basin enveloped by archlike mountains in the background and trees in the foreground.

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Shen Zhou, Anchorage on a Rainy Night, Ming Dynasty 15th Century, China

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Shen Zhou, Anchorage on a Rainy Night, Ming Dynasty 15th Century, China

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Shen Zhou was part of the Literati, and was part of a scholars family, practiced the styles of the four great masters of Yuan and applies a lot of Huang Gongwang’s techniques in this painting. It was painted to capture the mood when Shen had been staying on a boat and given to a poet friend. After a rain shower, the harbor had been shrouded in stillness and a peaceful mood set in the area. Some of the many techniques he used that were akin to Huang Gongwang throughout the painting include the sloped, rounded peaks, rounded outcroppings and contrasting ma dots. He doesn’t include humans within this painting either and focuses entirely on the landscape before him. He doesn’t use cropping like Gongwang did however, and likely wished to capture the entire scene before him. He applies the same horizontal brush strokes for the tree foliage which is likely a homage to Huang Gongwang as well. It is very reminiscent of the Fuchun Mountains, having faint trees with darkened foliage, platform like openings and mountains looming in a hazy background. However, it has been simplified, mountains have much less linework and texture and much more dependence on shading. The painting uses absences greatly to make the painting feel wet, peaks are cloaked in mist. Not only that but the darkened ma dots look like clumps of grass after being drenched in water. Finally the shadows looming in the crevices of the mountains feel like water cascading off the edgeless summits.

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A large landscape painting on a scroll depicting the sandbar of Amanohashidate.

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Sesshu, View of Amanohashidate, Muromachi Period 16th Century Japan

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Sesshu, View of Amanohashidate, Muromachi Period 16th Century Japan

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It is a very unique angle that directs the picture from an elevated position with much of the landscape being very distant from the view. The sandbar is considered an incredible scenic view and today is part of a national park. The painting consists of a large range in the foreground, the bay and sandbar in the midground and rolling mountains make up the background with buildings strewn about within. The painting is unique for its topographic view and reliance on the wide sweeping view with nothing close, even the foreground. Sesshu utilized his time in China in order to see the monumental landscapes, and he draws clear inspiration from artists such as Huang Gongwang. Dark contrasts and abstract space are very prominent in the painting however the painting remains grounded and realistic, no ma dots exist, there is a sense of consistency throughout the painting. Sesshu uses a great deal of spatial cohesion, as well as cloudy backgrounds to give the illusion of distance as well. A mental pathway can be made even still which feels reminiscent of the temple artwork done for Emperors of China. Moving from the sandbar to the town gate, winding along until reaching the foot of the mountain and lurching up until at the peaks. Very little color is used but some of the buildings have light hues displayed, such as the red gates within the town and the building at the peak. Overall, the painting offers an unquestionably dynamic and scenic view from a unique perspective.

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A large folding screen divider, with light yellow trim. A mountainous village with trees surrounding it, is encircled by clouds.

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Hasegawa Tohaku, Eight Views of Xiao and Xiang, Momoyama Period 16th Century Japan

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Hasegawa Tohaku, Eight Views of Xiao and Xiang, Momoyama Period 16th Century Japan

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Hasegawa was an individual painter who had to compete with the Kano school in the Momoyama period. People expected art to be large and gaudy, as well as a show of power and wealth. For this reason Tohaku utilized their style, with large formats such as screens and incorporated golden powder into the washes.  The abstract space is accented with golden hues that bathe the surroundings of the village to the right. A path winds up across the village, traversing through a valley. The painting itself uses a lot of abstract space to represent water, clouds and fog. Small mountains and peaks can be seen jutting out of certain sections of the clouds. A boat with a man on it drifts in the bottom, huts on a small section not far from them. Monumental landscapes are largely in place here, as well as the fisherman in the misty lake water. Dark dry strokes can be seen throughout the landscape, giving a worn scraped texture over the cliffs. Some of the mountains in the background are given borders by washes, with no definitive line work being done. Tohaku makes use of diminishing size and negative space to show scale and distance effectively. Overall, the painting does much of the same that the Chinese paintings it was influenced by does. However, a large difference was the introduction of golden powder to replace washes. The kano school used this to give a much louder and more extravagant feel to the painting. This also adds some color to what usually monochromatic landscape paintings were.

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Part of the Yu garden in the Old City of Shanghai, Likely a section of the exterior.

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Pan Yunduan, The Yu Garden, Ming Dynasty 16th Century China

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Pan Yunduan, The Yu Garden, Ming Dynasty 16th Century China

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Located in Shanghai, the garden had been constructed in 1559 by Pan Yunduan as a way to comfort his father as he continued to get older. Sadly, much of the original garden was destroyed in the First Opium War, it was later rebuilt by Liangshun Han, and finally became a national monument by 1982.  It had 4 halls, the Sansui, Dianchun which was made in 1820, Huijing, and Yuhua, as well as the Wanhua Chamber and the inner garden which was recreated in 1956. The buildings are supported on carved stone pillars, with red and white walls with intricate patterns, which are comparable to many of the structures of the time. The tiles are dark gray or black color and are located on the many pavilions and walkways within the garden. The eaves curve upwards and are matched and extended from above with ridges, as well as meet back in the center in extravagant decorations. On top of one of the roofs stands a crane, another appears to be a serpent or dragon. Massive white walls with arch walkways separate each of the areas with clay dragon figureheads blending with the tiles decorating the tops. The dragon heads have whiskers jutting out, as well as either wispy clouds or manes at the base of the necks. Stone pathways with railings wind throughout the gardens with water below surrounded by greenery. Overall, the buildings retain much of their uniqueness and complexity, with stunning eaves, roof decorations, scenery and the patterns remain stunning after so many years.

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An Album Leaf section depicts an orchid among blades of grass.

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Shitao, Returning Home, Qing Dynasty 17th Century China

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Shitao, Returning Home, Qing Dynasty 17th Century China

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This painting is done by Shitao, a descendant of the imperial family. He was orphaned at age 2 and became a practitioner of zen buddhism and wished for artists to stop the idea of blindly copying ancients but rather be inspired by nature. Section of an album leaf, one of a few images depicting landscapes or close zoomed in, detailed images of flowers. This one in particular showcases an orchid, with contrasting stalks with bowing pointed ends. A great deal of effort went into showing spatial cohesion, with some being behind and obscured by the blooming orchid and others coming out in front of it. The flowers are all packed with details, small thin and faint lines mark out the leaves on the center flower, small splotchy black dots marking each end. Thin lines are used for the blades of grass, and the painting is very similar to calligraphy, with broadened and flowing angles. The dots also splatter down the stem, and on one of the other flowers, something that Shitao does throughout his art works. Shitao also applies contrasts for different sections such as the lights and faint shades for the flowers and a much darker and dense tone for the strands. The painting flows naturally, with little to no straight lines being present, however many curves and bends are. These were just a few ways the artist implemented a natural and nonrigid feel into the painting. The flowers seem to be the main point with no background being visible, similar to many subject paintings.

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 An image part of a collective of leaves for an album, made up from ink on paper, Depicts the Goddess of the Lo River

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Gao Qipei, Goddess of the Lo River, Qing Dynasty 17-18th Century, China

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Gao Qipei, Goddess of the Lo River, Qing Dynasty 17-18th Century, China

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Gao Qipei was a Manchu from Southern CHina and thus was looked down upon by many native chinese. He sought to distinguish himself as an artist. He thus employs a technique that was not yet seen before, fingernail painting. Gao Qipei also utilizes many colors in his painting however this image is fairly monochromatic aside from the woman’s dress. A tall slender woman sits amongst swirling waves crashing against her. The shadows in particular the hair and wraps, as well as the shadow of the wave, stand out against the mellow tones of the skin, cloth and waves. The waves are stylized and curved significantly. The woman has a relaxed and peaceful demeanor, which stands out against the harsh and dynamic waves. The painting largely uses curved lines with very few completely straight angles. This is likely due to the fact that Qipei was using his fingernails to make the lines and thus there are instead many curls and winding lines. The colors are sparse, faded and muted. The paper’s color is used prominently to display the waves, air, parts of the clothes and the skin color. Shading is done frequently across the painting in the waters to give depth and emboldens the person's figure against the paper and waves. They also deepen the shades of the waves themselves, giving them dimensions and shape. The painting to me is very pleasant to look at, the stylized waves swirling around the subject is appealing and I admire the way Gao Qipei forged his own style around finger painting.

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Wood block print depicts 2 women in loose garments with various patterns, both are holding fans.

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Kitagawa Utamaro, Two Women, Japan,18th Century Edo Period

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Kitagawa Utamaro, Two Women, Japan,18th Century Edo Period

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Kitagawa Utamaro is known for his depiction of women up close and in everyday activities. The Edo period showed a shift in art as the Chonin were very wealthy and able to commission projects. people were interested in contemporary and modern life rather than the Chinese influenced ink paintings from before. They wanted to live in the moment and art began to express this, with things like theatre, women and booze becoming mainstay at this point in time. The wood block print became very popular in this time, people loved to collect series of art and allowed for artists like Harunobu to make many different designs and woodcarvers would use them to make the blocks. Kitagawa in particular utilized close-up images of women using generic faces and showed them doing many different activities. He would also use a pale dust called mica, that would give a stage-like feel to the print, with a silver hue to the background.  Viewers oftentimes felt like they were spying on secretive or private moments in the lives of people. Utamaro emphasized the facial features of his subjects and used minor details to express a story of their day-to-day life, such as loose strands of hair showing disarray or being unorganized. Utamaro's backgrounds don't tend to possess much if any detail beyond the mica dust, and instead show a heavy focus on the people. This all shows a major departure from the Chinese Landscapes from the previous period; however, similarities can be drawn to the onna-e style of painting, with subtle details being utilized to characterize people and less focus on visual emotion.