Nanga
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Nanga ( Japanese 南 画 ), more precisely Nanshūga ( 南宗 画 , German "painting in the style of the southern school"), is a Chinese- influenced painting style that was adopted in Japan from 1700 onwards .
To the subject
The painting style was based on the “southern school”, which, in contrast to the strictly academic “northern school”, preferred spontaneous image design. This was the style used by scholars in China who painted in their free time and then often gave the results to friends as gifts. This "scholarly painting" ( 文人画 bunjinga ) was adopted in Japan, but does not entirely match the original term. In part, people made a living from selling the sheets, so that today the term nanga is preferred in Japanese art history.
The recreational painters were based on Chinese textbooks on painting, e.g. B. at the collection “Eight types of picture templates” ( 八種 画譜 ) or at the “Mustard Corn Garden ” ( 芥子 園 ) and at the “Ten Bamboo Hall” ( 十 竹 斎 ). These works were reprinted in Japan.
Representative of the early stage
- Gion Nankai ( 祇 園 南海 ; 1677–1751) was a writer of Chinese poems and a painter. He was the son of a doctor who served the Wakayama branch of the Tokugawa, studied Confucianism under Kinoshita Jun'an, and served as the official Han Confucianism teacher.
- Hattori Nankaku ( 服 部 南 郭 ; 1683–1759) was born in Kyoto, was a Confucianist and poet, but also occupied himself with painting in the Nanga style.
- Yanagisawa Kien ( 柳 沢 淇 園 ; 1704–1758) headed the administration of the Kōriyama -han. He studied under Ogyū Sorai , dealt with neoconfucisism, calligraphy, cut seals and was also familiar with botany. At first he painted in the style of Chinese court painting, but then devoted himself mainly to nanga painting.
The great masters
In contrast to most other nanga painters, Yosa and Ike were of bourgeois origin.
- Yosa Buson ( 与 謝 蕪 村 , 1716–1783) was a haiku poet and painter. He showed artistic talent at an early age and left behind an extensive painterly oeuvre.
- Ike (no) Taiga ( 池 大雅 ; 1723–1776) came from Kyoto, learned Ming and Qing painting from Gion and also took on influences from Yanagizawa. His calligraphy is also important. His wife Gyokuran was also a well-known painter.
Further development in western Japan
- Uragami Gyokudō ( 浦 上 玉堂 ; 1745-1820) first served in Kamogata -han in the province of Bitchū , but left this and traveled all over the country, painting and playing koto. He designed his landscapes with a sharp brushwork.
- Aoki Mokubei ( 青木 木 米 ; 1767–1833) is best known as a potter in Kyoto, but was also active in painting in old age, taking influences from Kō Fuyō (1722–1784) and Kimura Kenkadō (1736–1802). He used blue and red for painting.
Further development in Edo
- Tani Bunchō ( 谷 文 晁 ; 1763-1840) came from Edo. Promoted by the Chancellor of the Shogunate Matsudaira Sadanobu he created a. a. the collections Shūko Jūrui and Kōyo tanshōzu ken . He took over influences from the north school, which are shown in a more strict image structure. Portrait painting also developed under his direction. Of his numerous students, Watanabe, Tsubaki and Tachibara Kyōsho and Takaku Aigai should be mentioned in particular.
- Watanabe Kazan ( 渡 辺 崋 山 ; 1793–1841) studied Western knowledge and worked as a nanga painter. In painting he was a student of Tani and headed the administration of Tahara- han in Mikawa Province . He was one of the scholars who opposed the shogunate's policy of isolation . As part of the Ansei purge in 1859 he was house arrested and committed suicide in 1841.
- Tsubaki Chinzan ( 椿 椿 山 ; 1801-1854) was born in Edo and was a member of a guard service of the Shogunate. He studied painting with Tani and Watanabe and also dealt with the style of the painter of the Qing period Yùn Nántián.
Finale
- Tomioka Tessai ( 富 岡 鉄 斎 ; 1836–1924) came from Kyoto, studied national studies with Ōkuni Takamasa, but also dealt with literature, Confucianism and Buddhism. After 1868 he became a priest at the Isonokami or Ōtori shrine . He first painted in the Yamato-e style and later turned to nanga painting.
Image selection
Uragami: Landscape (detail)
Aoki: landscape
Tani: Green landscape
Watanabe: Sato Issai
Tsubaki: Takaku Aigai
Tomioka: Landscapes
Remarks
- ↑ The distinction between North and South School goes back to the Chinese art critic D Endeng Qíchāng (1555–1636) at the end of the Ming period .
literature
- Takeda Kōichi: Nihon no nanga. Toshindo, Tokyo 2000, ISBN 4-88713-347-2 .
- Yutaka Tazawa: Biographical Dictionary of Japanese Art . Kodansha, Tokyo 1981, ISBN 0-87011-488-3 .
- Yoshiho Yonezawa, Chu Yoshizawa: Japanese Painting in the Literati Style. Weatherhill, New York 1974, ISBN 0-8348-1019-0 .