Word: edo
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Dates: during 1990-1999
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...true, however, that Japan had been culturally static until then. Japan's ancient imperial capital Kyoto represented the classic division of old Japanese power: court, samurai, priests. It continued to exert a great influence on the country's art. But in Edo, a more secular and even demotic imagination began to assert itself--marked, writes Singer, by "bold, sometimes brash expression...and a playful outlook on life in general." This happened because Japanese society, in the new capital, became somewhat more open to change. Not very much, but a little, and then a little more. The once despised merchants...
During the Edo period, traders, moneylenders and shopkeepers were getting richer--the Tokugawas sealed Japan off from Western contacts but emphatically not from trade with other parts of Asia. They wanted conspicuous works of art and had the money to commission them. The demand for superfine objects, in which ordinary things like writing boxes or game boards were raised to the condition of art by means of exquisite decoration, was underwritten by the Japanese convention of giving gifts--as tribute, tokens of loyalty, signs of gratitude. The gift was a much more important social symbol in Japan than...
...that no civilization, East or West, attained a greater refinement in the decorative arts than Edo Japan. Ceramics, lacquer and textiles were brought to an extraordinary pitch of aesthetic concentration by a large body of artisans whose collective skills have never been surpassed, in Japan or anywhere else. And skill was key. Edo artists and patrons loved virtuosity within a given medium, but they didn't have a hierarchy of art and craft. To them, the work of the lacquerer or the papermaker was no less worthy than that of the screen painter, and in any case so many media...
Which is not to say that the Edo period lacked individual artists who were seen, then and now, as stars. Its core achievement, in painting, was the allusive and delicate work of the so-called Rimpa artists: Tawaraya Sotatsu and Hon'ami Koetsu in the 17th century, and later the brothers Ogata Korin and Ogata Kenzan, Sakai Hoitsu and others. The show abounds in their work, especially the large folding screens that were Japan's closest equivalent to Western murals. Hoitsu (1761-1828) is represented by one of his finest screens, Flowers and Grasses of Summer and Autumn, in which...
Skill, once demonstrated, could be elegantly volatilized. Edo taste valued the unfinished, the rough. One of the masters of the pictorial throwaway line was Ogata Kenzan, best known as a potter. He and his more famous brother Ogata Korin--whose paintings mark the apotheosis of lyrical, erudite Edo painting--left an indelible mark on Edo style. Nothing could seem more offhand than Kenzan's scroll The Eight-Fold Bridge, an illustration of a poem with the poem itself written into it--the planks of the bridge brusquely indicated, the calligraphy mingling with the broadly brushed leaves of water iris...