Окухара Сейко
Окухара Сейко ( 奥原 晴湖 , 1837–1913) Окухара Сейко был художником литературы в Японии в конце 1800 -х годов. Они стали ведущим художником в Японии, основав художественную школу и демонстрируя свое искусство по всей стране. В 1891 году, в возрасте пятидесяти пяти пяти лет, Сейко решил уйти в деревню. Картины, созданные Seiko после их выхода на пенсию, уважаются и считаются одними из их лучших работ. [ 1 ]
Биография
[ редактировать ]Окухара Сейко родилась в Кога , ныне префектуре Ибараки , родилась в качестве четвертой дочери высокопоставленного самураев и известной своим успехом в качестве художника, Сейко проживала в основном в Эдо - Токио , политическом и социальном центре своего времени. [ 2 ] Хотя домен Кога имел юридические ограничения, которые мешали женщинам покинуть Кога, Сейко обходил эти ограничения, получив усыновление тетом в соседнем домене Секиядо . [ 3 ] Они получили образование в истории Китая, литературы, поэзии и философии - основных предметов классического образования в то время. [ 4 ] Они переехали в Эдо, около 1865 года, где преподавали живопись и жили в последующие годы со своим компаньоном (предположительно партнером) и студентом Ватанабе Сейран (1855-1918). Сейран, который оставался рядом с Сейко более 40 лет, закончил тем, что принял стиль Сейко. [ 5 ] На их работу влияет школа кано , [ 6 ] but is categorized as within the nanga literati school. Seiko, like most successful Japanese artists of their time, adapted Chinese literati styles to Japanese tastes.[7] Seiko retired from the capital and continued their active life of painting, traveling and poetry from a countryside villa in Kumagaya.[8]
Seiko is notable for their established and well-recognized career during the Meiji period, as well as their reputation within the primarily male literati school. Early in their career, they changed their name from Setsuko to the gender-neutral Seiko. Their work has been characterized as "masculine" in both painting and calligraphy. Seiko was also noted for wearing masculine clothing and short hair, deliberately eschewing a feminine persona.[9] As a famous bunjin (literati artist) artist, they are renowned for earning their own success with their art without literary or artistic connections, much like their contemporary Noguchi Shohin. Both artists also omitted the feminine character ‘joshi’ in their signatures. They and Noguchi Shohin were friends of the statesman Kido Takayoshi and they both enjoyed his patronage. Kido and the two of them would create gassaku which are collaborative paintings that include both pictures and text.[10]
Notably, research about female painters in East Asia during the 19th and 20th century is lacking. Historians have suggested that this is not due to a dearth in practicing female artists, which began to be more widely accepted in the 18th century, among the daughters of the gentry.[7] Although women were celebrated as authors and poets, paintings by female artists may have been characterized by Japanese historians as effeminate.[11]
Style
[edit]Seiko was a minor pupil of Tani Bunchō, but because of their gender, was not allowed to enter into an apprenticeship. Part of their artistic training involved the copying of funpon (pictorial models), which may be seen in their work and were also later used in their teaching.[6] The use of funpon was derived from the Chinese, as the literati practice followed a Chinese example.[12] Seiko was celebrated for their individual style, which drew from a variety of artistic elements and examples. Seiko predominantly used two distinct painting techniques: the Tokai style, popular in the 1870s and 1880s, which included loosely drawn ink landscapes and idiosyncratic calligraphy, and the Kumagaya style, popular in the 1890s and 1900s, which featured complex full-color brushwork on silk.[13] During Japan at the time, learning through imitation in order to best achieve personal style and expression was reflective of the literati culture.
Works
[edit]In 1907, Okuhara Seiko designed Beauty by Plum and Window,[14] a unique scroll that implements both painted images as well as poetic calligraphic writing in the Chinese language. Their art piece derives from a new formalized configuration of Chinese art known as “literati art” that was perceived as an outlet for artists to express themselves through multiple dimensions. In Beauty by Plum and Window, Seiko illustrates a beautiful young woman sitting by an open window as she glances outward towards a plum blossom tree. The painting insinuates a sense of duality between intimacy and secrecy, for the open window permits voyeurism from the external gaze while the combination of the window, curtain, and tree conceal and protect the woman's beauty.
Although many of their works remain in private hands, there is a major collection at the Koga City History Museum. Other museums that hold their work include the Tokyo National Museum,[9] the Museum of Modern Art, Ibaraki,[9] the Saitama Prefectural Museum of Modern Art,[9] the Minneapolis Institute of Art,[15] the Los Angeles County Museum of Art,[16] the British Museum,[17] the Philadelphia Museum of Art,[18] the Brooklyn Museum,[19] the University of Michigan Museum of Art,[20] the Museum of Fine Arts, Boston,[21] the Harvard Art Museums,[22][23] the Honolulu Museum of Art,[24] the Weatherspoon Art Museum,[25] and the Yale University Art Gallery.[26] They were featured in the exhibit on "Her Brush: Japanese Women Artists from the Fong-Johnstone Collection" at the Denver Art Museum in 2022.[27]
References
[edit]
- ^ "OKUHARA SEIKO, Japanese Artist, 1837-1913, t, Major Female Artist, NO RESERVE | #497797066". Worthpoint. Retrieved 2019-06-06.
- ^ "Matt & Andrej Koymasky - Famous GLTB - Okuhara Seiko". andrejkoymasky.com. Retrieved 2023-05-24.
- ^ Wakamatsu, Yurika (2016-07-12). "Painting in Between: Gender and Modernity in the Japanese Literati Art of Okuhara Seiko (1837-1913)".
{{cite journal}}: Cite journal requires|journal=(help) - ^ "Object Lesson: Okuhara Seiko". New Orleans Museum of Art. 2021-06-15. Retrieved 2023-05-24.
- ^ "Okuhara Seiko & Watanabe Seiran 1837-1913 and 1855-1918 Japan". Ria Brodell. Retrieved 2023-05-24.
- ^ Jump up to: a b Gordon, Brenda G. (2003). Copying the Master and Stealing His Secrets: Talent and Training in Japanese Painting. University of Hawaii Press. pp. 4, 7, 116–118. ISBN 978-0824826086.
- ^ Jump up to: a b Addiss, Стивен (осень 1993). «Яманака Шинтен'о: альбатрос японской живописи». Monumenta nipponica . 48 (3): 315–336. doi : 10.2307/2385129 . JSTOR 2385129 .
- ^ McClintock, Martha Jane (1991). Окухара Сейко (1837-1913): Жизнь и искусство художника Meiji Peroy. (Тома I-III) (тезис). ProQuest 303980824 .
- ^ Jump up to: а беременный в дюймовый McClintock, март (2003). "Нефть к сейку " Grove Art Online марта 8 ,
- ^ Эллен П. Конант (2006). Спокойный прошлый и настоящий: метаморфоза японского искусства девятнадцатого века . Университет Гавайи Пресс. С. 178–180. ISBN 978-0-8248-2937-7 .
- ^ Берри, Пол (зима 1992). «Цветение в тени: женщины в истории китайской и японской живописи. Марша Вайднер». Monumenta nipponica . 47 (4): 561–563. doi : 10.2307/2385348 . JSTOR 2385348 .
- ^ «Японская литературная культура в период Эдо» . www.philamuseum.org . Филадельфийский музей искусств . Получено 10 апреля 2015 года .
- ^ McClintock, Martha J. (1991). «Окухара Сейко (1837-1913): Жизнь и искусство художника из литературы Meiji Peroy» .
- ^ Вакамацу, Юрика (октябрь 2020 г.). «Воображаемые я: посреднические желания и субъектные позиции в японском литературном искусстве Окухара Сейко (1837–1913)» . Проект Муза .
- ^ "Орхидеи, Окухара Сейко ^ Миннеаполисский институт искусств " Collections.artsmia.org Получено 2021-01-0
- ^ "Осенний ландшафт" . LACMA Collections . Получено 2021-01-07 .
- ^ «Иллюстрированная книга; Печать | Британский музей» . Британский музей . Получено 2021-01-07 .
- ^ «Два курицы» . Филадельфийский музей искусств . Получено 2021-01-07 .
- ^ «Виноградная лоза с зеленым кузнечиком» . Бруклинский музей . Получено 2021-01-07 .
- ^ "Входная сцена" . Мичиганский университет - Музей искусств - Обмен . Получено 2021-01-07 .
- ^ «Вода в тростнике ночью» . Музей изобразительных искусств - Бостон . Получено 2021-01-07 .
- ^ «Лотос осенью» . Восточно -азиатская художественная программа в Гарвардском университете . Получено 2021-01-07 .
- ^ «Из коллекций Гарвардских художественных музеев - Lotus осенью» . Гарвардские художественные музеи . Получено 2021-01-07 .
- ^ «Элегантное настроение горной резиденции» . Гонолулу Музей искусств . Получено 2021-01-07 .
- ^ «Птицы и Нандина» . Weatherspoon Art Museum . Получено 2021-01-07 .
- ^ «Лотосы» . Художественная галерея Йельского университета . Получено 2021-01-07 .
- ^ «Ее кисть | Денверский художественный музей» . www.denverartmuseum.org . 13 ноября 2022 года . Получено 2022-12-04 .
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