Category Archives: Japanese Art

Six Reasons to See “Sōtatsu” Before it Closes

Detail, Waves at Matsushima; Tawaraya Sōtatsu, (act. ca. 1600–40); pair of six-panel folding screens; ink, color, gold, and silver on paper; Freer Gallery of Art, F1906.231–232 Detail, Waves at Matsushima; Tawaraya Sōtatsu, (act. ca. 1600–40); pair of six-panel folding screens; ink, color, gold, and silver on paper; Freer Gallery of Art, F1906.231–232

 

Sōtatsu: Making Waves has done just that. A Wall Street Journal writer claimed to almost “hear the splash of waves swirling” upon entering the landmark exhibition. Noting that ours is the “first exhibition outside of Japan devoted to one of the country’s masters of traditional ink works on paper,” Hyperallergic described Tawaraya Sōtatsu’s works as “mesmerizing compositions that still shine centuries after their creation.” And the Washington Post acknowledged that the Japanese master’s innovations have continued to influence his followers, including “countless artists working in the art deco style in the early 1900s.”

Still need a reason to see the exhibition before it closes on Sunday afternoon? Maybe one of these will convince you:

  1. Imagine if the works of Shakespeare were only accessible to the wealthy and elite. That’s how works of art were treated in Japan before Sōtatsu (active circa 1600–1640) came along. He not only created gorgeous masterpieces, but he also made them available to the general public.
  2. Sōtatsu is one of the forefathers of the Rinpa style, a movement that once defined Japanese art worldwide. He’s also known for advancing the painting technique known as tarashikomi (dropping in). In these works, paint is dropped into a still-wet background to create delicate details such as flower petals and water ripples.
  3. Sōtatsu’s designs echo within the works of luminaries such as Klimt and Matisse, making his 400-year-old paintings appear unexpectedly contemporary.
  4. Three of his paintings, The Gods of Wind and Thunder (Kenninji Temple, Kyoto), Lotus and Waterfowl (Kyoto National Museum), and Channel Buoys and the Barrier Gate (Seikadō Art Museum, Tokyo), have been designated national treasures by the Japanese government.
  5. In celebration of the four-hundredth anniversary of Rinpa art—and the thirtieth anniversary of Super Mario Bros.—Nintendo had an artist create a version of The Gods of Wind and Thunder starring Mario as Raijin, the god of thunder, and Luigi as Fujin, the god of wind.
  6. Importantly, one of the screens in the exhibition is full of cats.

Join us this weekend to bid adieu to this remarkable show.

Making Musical Waves

Descending Geese of the Koto; Suzuki Harunobu 鈴木春信 (1724–1770); Japan, Edo period, ca. 1766; woodblock print; The Anne van Biema Collection, S2004.3.21

Descending Geese of the Koto; Suzuki Harunobu 鈴木春信 (1724–1770); Japan, Edo period, ca. 1766; woodblock print; The Anne van Biema Collection, S2004.3.21

We owe the emergence of modern music for the koto, a Japanese zither, to a temple-court musician named Hosui. In the mid-1600s, Hosui was dismissed by the famously capricious nobility in Kyoto for giving an unacceptable performance.

Hosui ultimately prevailed. After resettling in Edo (modern-day Tokyo), he taught blind commoners how to play the exclusive court music styles and instruments that were previously restricted to Buddhist priests and Confucian scholars. Among Hosui’s students was the shamisen player Yatsuhashi Kengyo (1614‒1685), who pioneered a large and influential repertoire of secular koto music that is still performed today.

More than three hundred years after his death, Yatsuhashi’s tomb in Kyoto is marked by a commemorative stone. His accomplishments in music mirror those of the Japanese artist Sōtatsu, who is credited with bringing the visual arts of the court to a much wider public.

You can hear a few of of Yatsuhashi’s signature works and several of their later incarnations performed by local koto artist Miyuki Yoshikami and flutist Amy Thomas. Their free performance is held on Saturday, January 30, at 1 pm in the ground-level pavilion of the Sackler Gallery. While you’re here, take a last look at Sōtatsu: Making Waves before it closes on January 31.

Sōtatsu: Pieces of the Past

<em>Screen with Scattered Fans</em>; Tawaraya Sōtatsu (act. ca. 1600–40); Japan, early 17th century; six-panel folding screen; color, gold, and silver over gold on paper; Freer Gallery of Art, Gift of Charles Lang Freer, F1900.24

Screen with Scattered Fans; Tawaraya Sōtatsu (act. ca. 1600–40); Japan, early 17th century; six-panel folding screen; color, gold, and silver over gold on paper; Freer Gallery of Art, Gift of Charles Lang Freer, F1900.24

Stories about looting historic tombs and architectural sites are common fare in today’s media. Given the images that accompany these updates, of crudely severed elements hacked from pillaged ruins or plundered gravesites, the idea of considering cultural “fragments” in a positive light is akin to wearing mink at a PETA convention. The concept is is rightly tainted by associations with destruction and misappropriation.

But not all fragmenting is fundamentally destructive. Our current exhibition Sōtatsu: Making Waves (through January 31, 2016) is incomprehensible without an understanding of what could be called Tawaraya Sōtatsu’s (active circa 1600–40) strategy of fragmentation. Instead of theft and pillage, his process more closely resembled collaging—taking scraps from here and there and arranging them in a way that simultaneously displaced and expanded the original meaning.

Sōtatsu worked in a period of incredible social change. Though the population of Kyoto didn’t understand it at the time, a national solidification was taking place in the early seventeenth century. Japan was becoming the defined country we know today, emerging from a time when region, rather than nation, was the framework of identity.

This new national unity required a shared past. The world of classical literature—poetry, tales of adventure and romance—previously had been the purview of the aristocracy. Learning the classics, creating an interpretive framework for their revered words, and creating imagery to enhance those words were all elite activities—that is, until society began to come apart.

From his beginnings as a commoner, a fan painter, and an illuminated manuscript specialist, Sōtatsu eventually gained access to the highest levels of “the old order” (having the emperor’s consort as a patron, for instance)—a remarkable feat. With that access, he was able to view the artworks that had been sequestered, allowing him to pick apart Japan’s past and then energize and distribute it to a far more diverse audience.

Sōtatsu was not going at some beautiful stucco wall relief with a pickaxe. But he and his studio mates were doing an extraordinary amount of foraging, accessing largely out-of-reach collections and seeing one-of-a-kind paintings—often long, horizontal historical or literary narratives. They copied episodes depicted in such works and reinterpreted them onto folding fans, some of which were surely sold out of Sōtatsu’s Kyoto shop, the Tawaraya. He and his fellow artists also produced a folding screen whose surface was decorated with such fans, swirling as if they were being carried away on a rushing stream.

Detail, Screen with Scattered Fans

Detail, Screen with Scattered Fans

Our current ability to arrange pieces of an art historical past into chronologies of artist, style, culture, and so forth gives us a window onto the primary works that Sōtatsu studied. These thirteenth- and fourteenth-century paintings, which we now know in their completeness, are often accessible in museums today. But how many who viewed Sōtatsu’s repurposed snippets in the 1600s would have seen the original works from which they were extracted? Your chance of knowing his sources—via art history books and exhibition catalogues—is exponentially greater than that of a typical townsperson in Sōtatsu’s day.

So what did Sōtatsu’s contemporaries make of these fragmented images? My guess is that many simply saw an affectation of the past: a brush with the classics, an obscure recounting of the history of a temple or shrine, or a vaguely generalized image of warriors riding off to battle, for example. Sōtatsu’s folding fans served as portable image quotations from the past, allowing ancient narratives to float across social boundaries.

In many cases, fragmenting has resulted in losing the thread of a cultural history, at least for a while. But in Sōtatsu’s case, it offered up bite-size bits of a past that many, many more people were able to appreciate than ever before.

Another period of great dispersal or fragmentation of Japanese art occurred in the late nineteenth and early twentieth centuries. Revisit Bento in the coming weeks to learn more about that amazing period.

A Glimpse of New Year’s Gold

Tea bowl with design of chrysanthemums; Nin’ami Dōhachi 仁阿弥道八 (1783–1855); Japan, Kyoto prefecture, Kyoto, Gojozaka, Edo period, early 19th century; F1896.55

Tea bowl with design of chrysanthemums; Nin’ami Dōhachi 仁阿弥道八 (1783–1855); Japan, Kyoto prefecture, Kyoto, Gojozaka, Edo period, early 19th century; F1896.55

How are you welcoming in the first day of 2016? Decorated with chrysanthemums, this bowl may have been made for a tea gathering, or chanoyu, to celebrate the New Year. Bowls newly made for New Year’s chanoyu events often were decorated with fragile gold leaf, which wore off in the course of a single use. Artist Nin’ami Dōhachi used a thick white-clay solution to model the relief decoration of chrysanthemum blossoms, a floral motif that is closely associated with autumn through winter.

Friday Fave: Sugimoto’s Seascapes

An installation shot from the exhibition, "Seascapes: Tryon and Sugimoto," Arthur M. Sackler Gallery, 2009

An installation shot from the 2009 Freer|Sackler exhibition “Seascapes: Tryon and Sugimoto.”

The Freer|Sackler has always been a place of serenity and introspection for me. I enjoy the tranquility of sitting and viewing a work, letting my mind wander and slowly digest the nuances of the piece in front of me. This intimate relationship between art and viewer, for me, is mirrored in the work of Hiroshi Sugimoto.

My first exposure to his work was at the Baltimore Museum of Art. As I turned the corner into a side gallery, I saw a black rectangle the size of a chalkboard. From afar, it appeared as a modernist void, but as I moved closer, subtle details slowly appeared. A horizon, a slight gradation of black and white, filled the space.

That particular piece was a black-and-white photograph of the ocean. It is part of Sugimoto’s Seascapes series, long-exposure photographs of water horizons taken over several hours. The resulting large-format prints are hazy, dreamlike images that are tranquil and meditative. His focus on perceiving the ephemeral is captured in these snapshots of light and time and are simply beautiful in their peacefulness. The images are recognizable, but as if recalled from a memory.

I was delighted to discover that the Freer|Sackler has a series of Sugimoto’s ocean photographs. My personal favorite is Boden Sea/Utwill, demonstrating the artist’s mastery of portraying tonality and near formlessness. Air, water, time, and light all come together in a single photograph. The image is so simple, yet it encapsulates the essence of life on this planet.

While none of Sugimoto’s photographs are currently on view in the galleries, you can always see them online (along with the entire museum collection) at Open F|S.

Come visit! While the Freer Gallery closes for renovation on January 4, 2016, the Sackler Gallery remains open and as dynamic as ever. Learn more about our plans for the future.

Inspired By the Dark

Nocturne: Grey and Silver—Chelsea Embankment, Winter; James McNeill Whistler (1834–1903); United States, ca. 1879; oil on canvas; Gift of Charles Lang Freer, F1902.143a–b

Nocturne: Grey and Silver—Chelsea Embankment, Winter; James McNeill Whistler (1834–1903); United States, ca. 1879; oil on canvas; Gift of Charles Lang Freer, F1902.143a–b

Today is the winter solstice, the shortest day of the year. Winter light can be exquisite when it changes in late afternoon, as the dark comes earlier and earlier. A wonderful way to take it in, I think, is to walk through our galleries—especially in the Freer, with its central courtyard—and watch the day turn into night.

Artists have long captured changing daylight and dusk and the chromatic layers of evening. James McNeill Whistler’s Nocturnes shimmer with the texture of variable light, turning the surface of the canvas (or paper) into visual poetry. Kobayashi Kiyochika is another favorite artist in our collections whose celebrated woodblock prints were featured in the exhibition Kiyochika: Master of the Night in 2014. The exhibition was held concurrently with An American in London: Whistler and the Thames. Whistler’s London and Kiyochika’s Tokyo were often depicted at night—two distinct worlds separated by nearly six thousand miles, but linked by the play of shadow and light.

For centuries and across cultures, artists have been inspired by the night. If you search for the word “night” on Open F|S, you’ll bring up more than 450 works of art. If you choose “dusk,” you’ll get to see 25 more.

While the Freer goes dark from January 4, 2016, through mid-2017, the Sackler will remain open and as dynamic as ever. Learn more about our plans for the future.

Friday Fave: Trees

Trees; Sōtatsu school, I’nen Seal; Japan, mid-17th century; pair of six-panel folding screens; ink, colors, and gold on paper; Freer Gallery of Art, F1962.30–31

Trees; Sōtatsu school, I’nen Seal; Japan, mid-17th century; pair of six-panel folding screens; ink, colors, and gold on paper; Freer Gallery of Art, F1962.30–31

I’m not sure if it was the bold color or dramatic composition that first caught my eye. Vivid green pigment brilliantly contrasted against gold foil. An incredible variety of trees, each captured in considerable detail. Striking black ink trunks, festooned with large glossy leaves or spiky delicate ones. Viewed head-on and tightly packed into a constricted space, each tree is arranged precisely across six adjoining panels. It’s as if they are on display in my favorite garden catalog.

These initial impressions have stayed with me for decades. Literally. Although smartphones make it much easier today to take pictures of art, there’s still something really tangible about owning a high-quality reproduction. My now faded postcard is a bit worse for wear and tear—pockmarked with pinholes from its prominent display on every office bulletin board I’ve ever decorated—yet its power still holds. At 7 x 15 inches, it’s big enough to have a presence, and its thick card stock is sturdy enough to withstand the test of time. It shows one of a pair of six-panel folding screens that were last displayed at the Freer almost fifteen years ago.

The screens can now be seen in their rightful place of honor in the exhibition Sōtatsu: Making Waves, on view through January 31, 2016. When I first saw them again, they struck me as breathtaking both in their scale and luminosity. The greens and golds just glow. They are much larger than I remembered and much more detailed. Although painted hundreds of years ago, they seem very contemporary and speak to the astonishing power of Japanese art and design. I’ve had the postcard over my desk for years, but seeing the screens in person is a powerful experience that reminds me of the old Marvin Gaye song “Ain’t Nothing Like the Real Thing.”

Halloween Help from Freer|Sackler

Mask; Japan, Momoyama or Edo period, 17th–18th century; wood, pigment, lacquer; Collected by Seymour J. Janow and gifted in his memory by his family, F2003.5.16

Mask; Japan, Momoyama or Edo period, 17th–18th century; wood, pigment, lacquer; Collected by Seymour J. Janow and gifted in his memory by his family, F2003.5.16

Not sure what to wear for Halloween this year? You’re on your own when it comes to finding the right costume, but if you’re looking for a mask, we’ve got your back—or at least your front—covered.

This demon mask, given to the museums a dozen years ago, is the perfect scary accessory. It was made in Japan sometime between the seventeenth and eighteenth centuries. Masks have a long and extensive history in Japan that dates back to the prehistoric Jomon period; they often have been used in dance, court rituals, and religious ceremonies. This mask portrays a long-nosed demon (known as tengu in Japanese lore) and was used in Shinto shrine performances.

For Halloween success, follow these simple instructions. First, print the mask as large as you can. Next, carefully cut it out. Make a small hole on either side (near the cheeks would work well) and run a string or elastic through them. Put it on and voila: You and the demon mask are now one! Scare your friends and loved ones, and the candy seekers at your door.

More scary masks can be found when you search the Freer|Sackler collections on Open F|S, as well as on Bento and our Facebook page.

Sōtatsu Rules the Waves!

Sōtatsu: Making Waves is the first in-depth examination of Tawaraya Sōtatsu (active circa 1600–40), one of the most influential yet elusive figures in the history of Japanese visual culture. The exhibition brings together for the first time more than seventy of Sōtatsu’s masterpieces from collections in Japan, Europe, and the United States, along with homage pieces by later artists that demonstrate his long-ranging influence. The Freer|Sackler is the only venue in the Western Hemisphere for this major Sōtatsu retrospective.

Museum founder Charles Lang Freer is widely credited with introducing both Sōtatsu and his frequent collaborator Hon’ami Kōetsu (1558–1637) to Western audiences. A prescient late nineteenth-century collector, Freer amassed several of Sōtatsu’s most noted paintings, including Waves at Matsushima and Dragons and Clouds. Due to restrictions in Freer’s will, the works cannot travel outside our Galleries. This exhibition is a watershed moment in our understanding of Sōtatsu, bringing together the masterworks Freer collected with others from around the world.

This evening, we’re open for a sneak peek of the exhibition from 5:30–8:30 pm. Explore the art, literature, and creative genius that shaped Sōtatsu’s legacy through curator-led tours, games, hands-on art activities such as block printing and fan painting, and refreshments. The evening also includes a film screening and performances by the Levine Music Jazz Quartet.

Tomorrow, the official opening day for Sōtatsu: Making Waves, join us for the free public colloquium Sōtatsu in Washington: Insights, Discoveries, and Reflections and hear from the international scholars who conceived and developed this once-in-a-lifetime exhibition.

Osumi Yukie: Master of Japanese Metalwork

Osumi Yukie at work in her studio in Japan

Osumi Yukie at work in her studio in Japan

For Osumi Yukie, the Freer|Sackler’s first artist-in-residence in Japanese metalware design, metalwork is more than an art or a craft—it’s a way of life. She’s been working with metal since the early 1960s. A master of inlay decoration, Osumi transforms silver into objects that are both functional and beautiful. Each piece, including those in Wind and Waves—on view in the Sackler through November 15—can take upward of four months to create, from inspiration to early sketch to finished work.

In her hands, metal becomes imbued with a kind of emotion. She takes a flat sheet of silver and lets it reveal its own story, akin to the way Michelangelo tried to bring the “sculpture” out of the stone. When we had the chance to speak last week (with the help of a translator), Osumi told me, “Metal isn’t a cold or hard thing. It is warmed by my own body temperature and becomes soft and comfortable.” Part of what makes the object special is the way it is used. “People who use my pieces will understand that through usage, the work really does become more beautiful. They enjoy the spirit that is behind the piece as well as its function,” she explained.

"Wind and Waves" by Osumi Yukie

“Wind and Waves” by Osumi Yukie

In July, Osumi was designated a Living National Treasure of Japan, making her the first woman to receive this recognition for metalwork. She holds a degree from the Tokyo University of the Arts and also studied in the United Kingdom.

On Sunday, October 18, from 2–4 pm on Sackler sublevel one, join us for Osumi Yukie’s talk, “A Changing Craft: Japanese Metalwork.” Through words and images, she’ll tell us more about her work, the influence of teachers, and her role today in encouraging a broader appreciation of the art of metalwork.

For more Japanese art, save the date to see Sōtatsu: Making Waves, which opens at the Sackler on October 24. A celebration of the life and work of Tawaraya Sōtatsu—one of the most influential yet elusive figures in the history of Japanese visual culture—the exhibition is the first outside Japan to tell his story.