Nature: Western Escape or Japanese Tradition?
“Hearing the cries of the warbler among the blossoms or the calls of the frog that lives in the waters, how can we doubt that every living creature sings its song?” These words of poet Ki no Tsurayuki 紀貫之 echo the Japanese sentiments towards nature-that gods were present in even the smallest parts of the natural world, giving each element an inherent beauty. These beliefs, which drew upon the Japanese Shinto religion and animism, emphasized the connection between man and nature, which was seen in the recurring images of flora, fauna, and the moon in various prints. The way these images of nature were used, however, differed greatly depending on who the artist was. Western artists, many of whom were disillusioned by the rapid industrialization of the time period, sought the Japanese natural aesthetic as refuge, whereas many Japanese artists, viewing modernization in a positive light, sought to use nature as a way of showing the extent to which Japan advanced from its “traditional” past. Whether it be about the impermanence of life or the yearning of the human heart, the commentary provided by the following images tells a tale of two hemispheres and how they viewed modernization as it related to nature.
This work is a page of a book Inaka no tsuki 亥中の月 (The Moon on the Twentieth Night of a Month), illustrated by Kōno Bairei 幸野楳嶺 (1844-1895). It is an example of a traditional Japanese depiction of nature created during a time when the West was focused on industrialization and the removal of natural landscape. Inaka no tsuki is composed of woodcuts containing different animals, varying plants and trees and other scenes from nature. This picture of the moon is found in the beginning of the book next to an index of the different names of the plants and animals translated from Japanese to English script. It is somewhat separated from the other works in the book because its placement is more of an introductory work to set the theme for what is to come.
Kōno Bairei was known for his depictions of wildlife and scenes from nature and his love for kachō-e 花鳥絵 (bird and flower prints). He was a member of the ukiyo-e school during the Meiji period and published many illustrated books such as Bairei kachō gafu 楳嶺花鳥画譜 (Bairei’s Album of Flowers and Birds) and this book, ranging from those containing woodcut prints of individual birds or plant life to others featuring numerous species of animals and fauna in one scene. The elements of this woodcut demonstrates clear aspects of the Autumn season. The moon phase depicted is the hatsukazuki 二十日月 (the moon of the twentieth night) also known as fukemachizuki 更け待ち月 (waiting late into the night), and is commonly associated with the 8th month of the Lunar calendar, generally falling between early September to middle October. Fukemachizuki is symbolic of love and longing, waiting for the loved one through late into night until this moon rises, often represented in art and literature by use of the moon.
In this work the plants almost seem to be physically touching the moon, the same as the birds in Takanawa and the water in The Wave, Moonrise as well as the owl in Night Owl. The way these earthly aspects seem to touch the moon gives the impression that Bairei wants the viewer to be aware of how close we are to the moon and the impact it has on our lives even though in reality it is so far away from our world. It is with these elements and the use of underlying meanings that Bairei was able to create a work of art fitting to set the tone for one of his many publications.
Bror Julius Olsson Nordfelt (1878-1955) is an artist from Sweden who moved to Chicago with his family in 1891. He is well known for his color woodcuts, first working in the traditional multi-block Japanese technique and later developing a new technique of woodblock printing that made it possible to print multiple colors at one time. He created compositions based on religious figures, birds, and landscapes. Nordfelt took a great liking to Japanese woodblock prints after he stayed in Europe from 1900 to 1906 and during another phase from 1915 to 1917.
He designed The Wave, Moonrise after he returned from Sweden in 1903. He enjoyed how Japanese woodblock prints captured a frozen action of natural life, like in Hokusai’s The Great Wave off Kanagawa. Being his most famous and greatest work, it is not surprising that many Western artists looked to Hokusai’s print for inspiration. By also using a still of the wave, Nordfelt was able to lead the audience's eyes to a focal point—the moon—just like how Hokusai does with Mt. Fuji. Nordfelt used a common theme found in traditional Japanese prints, a full moon that traditionally symbolized the hope for a bountiful harvest in the autumn months. Nordfelt’s moon is partially shrouded and looks as if it is being hit by the wave, bringing the natural world and a world that is distant together. The seabirds, also perhaps influenced by Hokusai’s Manga, one of the main references in the West for flora and fauna, also draw attention to the moon as they are passing right in front. By combining a Western landscape from his own life and mixing it with Japanese woodblock influences, Nordfeldt was an influential figure in the Japonism movement.
Charles Caryl Coleman is an American artist born in 1840. Although he never traveled to Japan, he was fascinated by foreign cultures, and it is presumed that he became interested in Japanese art as it entered the Western market in the 19th century. As in Night Owl and other works, he often created long vertical paintings, a format commonly seen in traditional Japanese art. Through the use of oil on canvas and vertical style, he combined Western and Japanese traditions. In this work, Coleman depicts an owl perched on a branch amidst cherry blossoms, with a bright moon behind them. These motifs have an important symbolic meaning that help interpret this work. Cherry blossoms are very sensitive to the weather, so they bloom only around April. Because they bloom only for a short time once a year, they symbolize life, birth, and death. The moon is often attributed with feminine qualities, such as gentleness, sensitivity, and connection with others; its shining alone in the dark gives the impression of expressing beauty. The moon in this painting is the only light that shines in the dark night, attracting the viewer’s attention and directing the gaze to the owl. When Coleman painted the Night Owl in the 19th century, many Western artists used the owl symbolically to represent or prophesize death. The combination of cherry blossoms and owl hints at birth and death through which one may realize the meaning of life: that people are born through the same cycle of nature and that they experience and learn the beauty of life through death.
Born Goto Torakichi, Utagawa Hiroshige 歌川広重 III (1843-1894) emulated his master’s style in his ukiyo-e landscape prints. He was known for his depictions of the Meiji period, a watershed moment in Japanese history when the country opened up to the West for the first time in 200 years, ending its period of sakoku 鎖国 (national isolation). The past and present views of Takanawa are most notably set apart by the footprints of Westernization-the train, power lines, and paved roadways obscure the natural landscape, which is a staple aspect of Japanese art. Traditionally, Japanese landscapes represented transient beauty, and in this case, the obstruction of the Japanese landscape by modern developments could imply the impermanence of a purely traditional Japan. Though visiting Westerners viewed the unadulterated landscape as an incredible sight that had escaped the grasp of industrialization, many Japanese artists juxtaposed natural landscapes with the presently modernized area, perhaps suggesting the lengths to which Westernization positively impacted their lives. This change is highlighted by the presence of the moon (and conspicuous lack thereof in the bottom half), which represents the traditional natural image of Japan. Where the moon appears in the upper scene, in the lower scene there is only a plume of smoke coming from the locomotive. The migratory birds near the moon also appear to suggest that the upper scene is autumntime, a transitory season that segues into the lifeless winter, whereas the cherry blossoms in the lower scene imply that it is springtime, a period of new life that suggests Westernization was a boon.
Ultimately, the differences between Japanese and Western artists in how they utilized nature in their works reflects the different artistic perceptions of nature as either a refreshing escape from industrialization or an integral part of tradition that emphasizes the impact of Western influence. The different flora, fauna, and moons in these works provide insight into the values regarding human emotion, the environment, and impermanence; this insight, however, is counterbalanced by the mystery introduced by the silhouettes created by the moon, which will be analyzed in the following section.
Devin Busono (‘22), Carlo Nicoletta (MA ‘22), Julia Oliventia (‘22), Sunil Park (‘21)
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