The Lure of the West European Elements in the Art of the Floating World

This was certainlythe desiredeffectof uki e prints

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Unformatted text preview: icial evicecould seem as powerfully real as the actual world. This was certainlythe desiredeffectof uki-e prints andultimatelyof photographs.30 The lureof thingsWestern, nly hintedat o in so many Edo-period perspective prints, evolved into an obsession during the Meiji period, when modernizationwas made synonymous with Westernizationand put forward as an urgent goal. Woodblock prints continued to be produced in the Meiji and a laterperiodsthat,technically nd aesthetically, rivaled their earlier counterpartsof the late Edo period;but significantlythese laterproductions revealthe increasingimpactof such Westerngraphic echniques s lithography nd a a t S photography. incethe end of the Meijiperiod, the tension between being fully Westernized and maintainingindigenous Japanesetraditions has definedthe axisaroundwhich much modernJapanese rtrevolves. a Reality"Scene.By the earlyMeijiperiod,the term shashin("reflect[literally'sketch']realb ity") had come to signify "photograph,"ut it seemsunlikelyto haveheldthismeaning hen w the print was made. Regardless,the image in MuseumStudies 93 This content downloaded from 130.64.161.67 on Sun, 29 Sep 2013 20:18:18 PM All use subject to JSTOR Terms and Conditions 22. See Li Gonglin's illustration to "The Classic of Filial Piety" (Xiao ing), in J New York, The Metropolitan Museum of Art, Li Kung-lin's "Classicof Filial Piety,"cat. by Richard Barnhartet al. (1993),pl. 14. 23. Translated in Pauline Yu, The Poetry of Wang Wei (Bloomington, Ind., 1980), p. 202. 24. On this subject, see Susan Bush, "LiteratiCulture Under the Chin [Jin]," Oriental Art n.s. 15, 2 (1969), pp. 103-12. 25. See San Francisco, Center of Asian Art and Culture, Osaka Exchange Exhibition: Paintings from the Abe Collection and Other Masterpieces of Chinese Art, exh. cat. (1970), no. 7; and Cleveland (note 16),no. 21. 26. Published in CharlesE Kelley,"Chinese PaintingsAcquired,"TheArt Institute of Chicago Quarterly(Apr. 1956),p. 25;and Cleveland(note 13),no. 216. 27. See Xu Bangda, Zhongguo huihuashi tulu (Shanghai, 1984), vol. I, pls. 195-203. 28. Published in Toan-zo shoga-fu (Osaka, 1928);and listed in Cahill (note 13), p. 290. 29. See Taipei, National Palace Museum, Gugong shuhua tulu (1990), vol. 4, pp. 17 and 19. 30. Published in Charles F. Kelley, "A Chinese Landscape of the Yuan Dynasty," The Art Institute of Chicago Quarterly (Apr.-May 1948),pp. 44-46; Osvald Sir6n, Chinese Paintings: Leading Masters and Principles, vol. 6 (London, I958),pl. io3; The Art Institute of Chicago, Ming-Ch'ing Dynasties, exh. cat. by Jack Sewell (1964), unpag.; and Max Loehr, The Great Painters of China (New York, 1980),pl. 9. 31. Published respectively in Xu Bangda, Zhongguo huihuashi tulu (Shanghai, 1984),vol. I, pl. 234;and Taipei, National Palace Museum, Yuan si da jia, exh. cat. (1975),pl. 404. " SIFFERT,Surimono in the Clarence Buckingham Japanese Print Collection: AnIntroduction," p. 54-73. p The author wishes to thank Mrs. Noriko Horie, ResearchAssociate in The Art Institute of Chicago's Department of Asian Art, for her gracious assistance in reviewing some of the fine points of interpretationin this article. I. For Harunobu's role in the development of the calendarprint, see The Art Institute of Chicago, The Clarence Buckingham Collection ofJapanese Prints, cat. by Margaret O. Gentles (1965), vol. 2, pl. 24, p. 12. See also Philadelphia Museum of Art, Suzuki Harunobu: An Exhibition of His Colour-Prints and Illustrated Books on the Occasion of the Bicentenaryof His Death in i770, exh. cat. by Jack Hillier (1970),pp. 10, 13-14. 2. See Joan B. Mirviss, "A Hidden Legacy: The Surimono Collection of Frank Lloyd Wright,"in Phoenix Art Museum and Los Angeles County Museum of Art, The Frank Lloyd Wright Collection of Surimono, exh. cat. by Joan B. Mirviss and John T. Carpenter (1955),pp. 13-14, for a brief description of the Japaneseand Chinese lunar calendarcycles. i 3. See Roger Keyes, "Introduction," n Lawrence,University of Kansas,Spencer Museum of Art, Surimono:Privately Published Prints in the SpencerMuseum ofArt, cat. by Roger Keyes (Tokyo, 1984),p. 14,for a generaldescription of the typical steps in the production of surimono. 4. See London, British Museum, The Passionate Art of Kitigawa Utamaro, exh. cat. by Shigo-Asano and Timothy Clark (I995), text vol. p. 91, pl. vol. p. 35. This image is also published in Bloomington, Indiana University Art Museum, Art of the Surimono, exh. cat. by Theodore Bowie (1979), pp. 30-32. for a discussion of how this type of surimono might See Keyes (note 3), p. ii, 5have been opened by the recipient to achieve the maximum impact as the lovely design is graduallyrevealed. 6. Ibid., no. 22, pp. 66-67. 7. This poem is found in one of the early anthologies of Japanesenative verse compiled on royal command, Shin Kokin wakashu ("New Collection of JapanesePoems from Ancient and ModernTimes"),dated to 1205.See Kodansha EncyclopediaofJapan (Tokyo, 1983),vol. 4, pp. 254-...
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