Summary:
This article delves into the Chinese elements of Japanese ukiyo-e and their impact on localization. By tracing the development process of ukiyo-e and Chinese elements, this paper analyzes the influence of ukiyo-e in the early days of Chinese painting, and discusses how ukiyo-e gradually got rid of the simple imitation of China and began to digest and innovate Chinese elements over time. It further analyzes the way and meaning of ukiyo-e painters who created works with unique styles by absorbing the essence of Chinese painting and combining local Japanese culture and aesthetic concepts.
I. Introduction
Ukiyo-e is a unique traditional Japanese art form that plays a pivotal role in the history of Japanese culture. Originating from the Edo period in the early 17th century, ukiyo-e was loved and admired by all walks of life in Japan for its vivid colors, exquisite craftsmanship and diverse themes. In the world of ukiyo-e, we can see a variety of contents such as the daily life of the Japanese people, traditional theater, beauty paintings, and scenic spots, which are not only artistic expressions, but also true reflections of the society, culture, and values of the time.
II. The Formation and Development of Ukiyo-e
A. The Origin and Historical Background of Ukiyo-e
The origins of ukiyo-e can be traced back to the Edo period in Japan in the early 17th century. During this period, Japanese society underwent great changes, and political power gradually shifted from the feudal samurai class to the central government, which was controlled by the Edo shogunate. At the same time, the development of the commercial economy has accelerated the urbanization of Japan, and the culture of the common people in the cities has flourished. The social changes and cultural prosperity of this period created a favorable environment for the rise of ukiyo-e.
The birth of ukiyo-e is inseparable from the development of woodblock printing techniques. Woodblock printmaking is an art form by carving an embossed pattern on a wooden board, applying ink or paint, and then printing it on paper. In the early 17th century, the technique of woodblock prints in Japan was quite mature, and it was mainly used to print religious scriptures, literary works, etc. The emergence of ukiyo-e is an innovation and development on the basis of this technology, which led woodblock printing from the realm of religion and literature to daily life and popular culture, and became a new form of visual art.
B. Stages and characteristics of ukiyo-e
The development of ukiyo-e can be broadly divided into three stages: early, middle, and late. In the early days, ukiyo-e was dominated by black and white line drawings and simple colors, and representative works include Katsushika Hokusai's "Thirty-six Views of Tomiyaki" series. In the middle period, with the advancement of technology and the increase in demand, the style of ukiyo-e gradually diversified, with richer colors and more diverse contents, such as Utagawa Hiroshige's "Famous Edo Hundred Scenes" series. In the late period, ukiyo-e focused more on the depiction of emotions and psychological states, and representative works include Katsushika Hokusai's "Thirty-six Views of the Iron".
The characteristics of ukiyo-e are mainly reflected in the following aspects: first, it is a true record of Japan's daily life, such as kabuki performances, flowers, birds, insects and fish, beauty paintings, etc., reflecting the style and cultural characteristics of Japanese society at that time; The change of picture composition made ukiyo-e works more vivid and visually impactful, and finally the production and dissemination of a large number of works, which made ukiyo-e an indispensable part of Japanese society and culture, and influenced the artistic creation and aesthetic concept of later generations.
C. The relationship between ukiyo-e and the social culture of the Edo period
Ukiyo-e is closely related to the social culture of the Edo period, reflecting not only all aspects of social life at that time, but also the political, economic, and religious factors of the time. First, politically, ukiyo-e was often censored and restricted by the shogunate, but to a certain extent, it also reflected the views and attitudes of the common people towards the political reality of the time; secondly, economically, the production and circulation of ukiyo-e provided important support for the woodblock print industry at that time, and also promoted the development of urban commerce; thirdly, in terms of religion, ukiyo-e had a close relationship with religions such as Buddhism and Shinto, which not only expressed the content of religious beliefs, but also influenced people's religious concepts and behavioral habits to a certain extent.
III. Chinese elements in ukiyo-e
A. Borrowing and absorbing Chinese art
During the development of ukiyo-e in Japan, Chinese art had a profound influence on it. In the early 17th century, with the increase of Japan's foreign exchanges, a large number of Chinese books and paintings were introduced to Japan, including Chinese painting techniques, themes and artistic conceptions. Japanese artists have absorbed and borrowed these Chinese elements and incorporated them into their own creations.
First of all, the brush-and-ink techniques of Chinese painting have had a profound impact on the development of ukiyo-e in Japan. Chinese ink painting techniques emphasize the use of ink and water, and pursue the abstract expression of artistic conception, which is in line with the style of ukiyo-e that pursues emotional and psychological expression. In many ukiyo-e works, the shadow of Chinese ink painting can be seen in the composition and use of brush and ink, such as the use of light ink to render distant scenes, and thick ink and heavy color to outline close-up scenes.
Secondly, Chinese literary and historical themes have also become an important source for ukiyo-e creation. Classics such as the Four Books and the Five Classics, historical allusions, and other Chinese classics are widely circulated in Japan, and have become one of the important sources of ukiyo-e themes. References and references to Chinese literature and history can be seen in many ukiyo-e works, such as depictions of ancient Chinese myths and events.
B. An Analysis of Chinese Elements in Harunobu Suzuki's Works
Harunobu Suzuki (1712-1770) was a famous ukiyo-e painter in the middle of the Edo period, and his works are full of references and representations of Chinese elements. First of all, Harunobu's works are influenced by Chinese ink painting in terms of composition and use of brush and ink, and he is good at using light ink to outline distant scenes, as well as using thick ink and heavy color to express close scenes, so that the picture has a sense of hierarchy and three-dimensionality. Secondly, Chunxin's works can often be seen depictions of ancient Chinese literature and historical themes, such as the characters in the "Chronicles of the Three Kingdoms" and the historical events in the "Records of the Historians", which are reflected in his works.
C. Chinese influences in the works of other ukiyo-e masters
In addition to Harunobu, the influence of Chinese elements can also be seen in the works of many other ukiyo-e masters. For example, Katsushika Hokusai's (1760-1849) works often feature themes of ancient Chinese myths and legends, such as "Water Margin" and "Journey to the West", as well as Chinese landscapes. Utagawa Hiroshige (1797-1858), on the other hand, often used the brushwork and composition of Chinese ink painting in his works, making the paintings more layered and charming.
IV. Confucianism and Sinology in ukiyo-e
A. The relationship between ukiyo-e and Confucianism
In the process of development, Japanese ukiyo-e was influenced by Confucianism, which had a profound impact on the development of ukiyo-e. First of all, Confucianism focuses on human ethics and social order, emphasizing the moral norms of the relationship between kings and ministers, fathers and sons, which is in line with the moral education and social norms pursued by ukiyo-e as a popular art form. As a result, references to Confucianism can often be seen in some ukiyo-e works, such as depictions of loyal monarchs and righteous people, filial sons and grandchildren, etc.
Secondly, Confucianism also had an influence on the aesthetic concept of ukiyo-e. Confucianism emphasizes the "education of etiquette and music", and pays attention to the cultivation of aesthetic cultivation and artistic taste, which is in line with the purpose of ukiyo-e to pursue artistic expression and aesthetic enjoyment. Therefore, some ukiyo-e works often see the influence of Confucian aesthetic concepts in terms of composition and color use, such as emphasizing the harmony and unity of the picture and the coordination and matching of colors.
B. The influence of Gennai Hiraga and other sinologists on ukiyo-e
Gennai Hiraga (1730-1781) was a prominent sinologist in the mid-Edo period who had a profound influence on the development of ukiyo-e in Japan. First of all, the study of Sinology in Minachi provides ukiyo-e with rich themes and cultural resources. He studied the knowledge of ancient Chinese literature, history, philosophy, etc., and incorporated them into his works, injecting new cultural connotations into ukiyo-e. Secondly, the study of Sinology in the source also influenced the aesthetic concept and artistic expression of ukiyo-e. He advocated the concept of "literati painting", emphasizing that painters should have solid cultural accomplishment and noble artistic pursuits, which is in line with the purpose of ukiyo-e to pursue artistic spirit and aesthetic taste.
In addition to Gennai, a number of other sinologists also had an influence on the development of ukiyo-e. Through the study of Chinese culture, they introduced Chinese literature, history, philosophy and other knowledge to Japan, providing rich cultural resources and creative inspiration for ukiyo-e, and promoting the development and growth of ukiyo-e.
C. The Representation and Significance of Confucianism and Sinology in Ukiyo-e
The expression and significance of Confucianism and Sinology in ukiyo-e are reflected in many aspects. First of all, they provide rich cultural resources and creative inspiration for ukiyo-e, enrich the subject matter and content of ukiyo-e, and make ukiyo-e works more diverse and enriched. Secondly, the ideological concepts of Confucianism and Sinology have injected moral education and aesthetic pursuit into ukiyo-e, making ukiyo-e not only artistically expressive, but also culturally and spiritually, and has become an art form with educational and cultural significance. Finally, the influence of Confucianism and Sinology also promoted the exchange and integration of ukiyo-e and Chinese culture, enriched the development and growth of Japanese art, and promoted the exchange and interaction between Chinese and Japanese cultures.
V. The localization practice of ukiyo-e
A. Ukiyo-e's imitation and digestion of Chinese elements
The imitation and assimilation of Chinese elements in ukiyo-e is an important part of its localization process. In the early period, Japanese ukiyo-e was influenced by Chinese painting techniques and themes, especially the Song and Yuan paintings. Some ukiyo-e painters explored a new form of artistic expression by imitating the brushwork, composition, and subject matter of Chinese painting. For example, Katsushika Hokusai's works often feature Chinese landscape paintings, and he uses the "freehand" technique of Chinese painting to incorporate landscapes into his works, showing a unique artistic style.
However, over time, ukiyo-e gradually moved away from the simple imitation of Chinese elements and began to digest and innovate them. Ukiyo-e painters have created works with a unique style by absorbing the essence of Chinese painting and combining local Japanese culture and aesthetic concepts. For example, Utagawa Hiroshige's "Fifty-Three Tours of the Tokaido" series, although influenced by Chinese landscape painting, skillfully incorporated Japanese geographical landscapes and cultural elements, giving the works a distinctly Japanese style and characteristics.
B. Representation of indigenous Japanese culture in ukiyo-e
The localization practice of ukiyo-e is not only reflected in the digestion and innovation of Chinese elements, but also in the full expression and play of Japanese local culture. Ukiyo-e painters depict Japanese landscapes, folk life, historical legends, and other themes to show Japan's unique culture and folk customs. For example, Kitagawa Utagawa's "Five-Colored Ladies" series vividly depicts scenes of women's life in Japan during the Edo period, showing traditional Japanese costumes, etiquette, and entertainment, which were loved and welcomed by the society of the time.
In addition, ukiyo-e also promotes the national spirit and history and culture of Japan by depicting Japanese myths, legends, and historical events. For example, in Katsushika Hokusai's "Thirty-six Views of Fuji" series, he depicts various scenes of Mt. Fuji, while incorporating Japanese myths, legends, and historical events, to show the importance and symbolism of Mt. Fuji in Japanese culture.
C. The influence of the localization of ukiyo-e on the development of Japanese art
The localization of ukiyo-e had a profound impact on the development of Japanese art. First of all, the localization of ukiyo-e enabled Japanese art to get rid of its dependence on China, establish its own artistic status and stylistic characteristics, and promote the independent development of Japanese art. Secondly, the localization of ukiyo-e has enriched the subject matter and content of Japanese art, expanded the field of artistic expression, and promoted the diversification and prosperity of Japanese art.
VI. Conclusion
In this article, we delve into the Chinese elements of Japanese ukiyo-e and their impact on localization. As a unique art form in Japan, ukiyo-e was influenced by Chinese painting in the early days, especially the techniques and themes of Song and Yuan paintings. However, over time, ukiyo-e gradually moved away from simple imitation of China and began to digest and innovate Chinese elements. Ukiyo-e painters have created works with a unique style by absorbing the essence of Chinese painting and combining local Japanese culture and aesthetic concepts. The localization of ukiyo-e not only enriched the subject matter and content of Japanese art, but also promoted the independent development and global dissemination of Japanese art, and had a profound impact on the prosperity and development of Japanese culture.
Author: Lu Xilin
Bibliography:
Selected Historical Materials of Japanese Ukiyo-e
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