Nihonga: A Legacy of Japanese Aesthetics
A Journey Through Japan’s Traditional Painting
“Under the Wave off Kanagawa,” also known as “The Great Wave,” from the series Thirty-six Views of Mount Fuji / By Katsushika Hokusai (1760–1849) / Edo period, about 1831 / Hagi Uragami Museum, Yamaguchi
*This work on view the special exhibition “Japan, an Artistic Melting Pot” at the Kyoto National Museum.
The history of Nihonga, the traditional Japanese manner of painting, can be traced back to the beginning of the Heian period (789-1185). A manuscript from 999 mentions a style of painting called Yamato-e (Yamato was the old name of Japan). When exactly this new school of painting originated is not known, but it is clear that Japan's break with the Tang Court of China, prepared the soil for the growth of a purely “Japanese” style of art.
Yamato-e broke away from the Chinese-inspired “Kara-e” by favoring typical Japanese subject matter and developing a narrative style of depicting events: the e-makimono or scroll painting.
“Fine Wind, Clear Weather,” also known as “Red Fuji,” from the series
Thirty-six Views of Mount Fuji. By Katsushika Hokusai (1760–1849). Edo Period, about 1831. Hagi Uragami Museum, Yamaguchi.
*This work on view the special exhibition “Japan, an Artistic Melting Pot” at the Kyoto National Museum.
It was not until the beginning of the Meiji period (1868-1912) that China’s position as Japan's cultural mentor was replaced by Europe. Soon Japan came under the influence of the Western tradition of oil painting. In no time at all, Japanese art, literature, and music were more and more like branches of the Western arts. As is common in such circumstances, a counter-reaction set in almost immediately. Perhaps it was at this time that the concept of Nihon-ga as a style of art different from the Western style (Yo-ga) came to be accepted.
Throughout Japanese history, political and military power has shifted constantly, but Kyoto has managed to retain its status as the cultural and traditional center for the arts. Hence, examples of Nihon-ga have been beautifully preserved here in their original forms. They can be admired in scroll form, individual panels, sliding doors, temple walls, Noh stages, folding screens, and beautifully decorated fans. A wide variety of subject matter has been depicted, and although subjects may have changed throughout the years, a number of devices which characterize the tradition have remained unchanged:
- an emphasis on colorful forms, simplified to create ornamental patterns
- a strong preference for delineating shape by silhouetting it against a background of different color
- little emphasis on shading, and thus a flattened image
- a view that renders the essential scenes with the greatest economy to maximize the beauty of the formal design
- rigorous selection of materials and tools
National Treasure, Wind God and Thunder God. By Tawaraya Sōtatsu (n.d.). Edo period, 17th century. Kennin-ji Temple, Kyoto. *These works on view the special exhibition “Japan, an Artistic Melting Pot” at the Kyoto National Museum.
ELEMENTS of NIHON-GA
l PAPER
Most Nihon-ga artists use mashi (hemp paper), which varies in character by region. Sometimes high-quality hosho (kozo paper) is also used. Torinoko, once called “the God of Paper,” was made from gampi fiber but is no longer available. It had a warm, off-white color and great refinement, but modern versions are too delicate, prone to tearing, and lose luster over time. Old paper requires no sizing, as age prevents excessive ink bleeding, giving unsized paper a more tasteful quality.
l PIGMENTS AND BINDING AGENTS
Things have changed and the colors used today are not the same ones used in ancient times. The colors that were derived from natural pigments (iwa-enogu) are now made from glass and synthetic elements. The powdered colors are mixed with a glue binder (nikawa) made from animal hooves (cow, deer, and rabbit) as well as fish and whale bones and applied to the sheets of hand-made paper with specially made brushes. It is very important to mix the correct proportions of nikawa and water so that the pigments will adhere well to the surface.
l BRUSHES
Although 80 percent of the brushes in Japan are made in the town of Kumano in Hiroshima prefecture, other high-quality brushes for professional use are made by skilled craftspeople in Kyoto, Nara and Tokyo. Most of the brushes (hake or fude) used for Nihon-ga are made from horse hair, sheep hair, or a combination.
l MOUNTING
Mounting Nihon-ga is a skill that involves a very long and sophisticated training. In Kyoto, there are various specialized workshops where the painting is mounted on pieces of ornamental silk or paper which has been carefully selected to enhance its quality. Mounting in scroll or screen form necessitates a process called urauchi, or lining. This process consists in sticking a semi-translucent sheet of handmade paper to the back of the painted surface in order to stretch it and facilitate mounting.
“Rainstorm beneath the Summit,” from the series Thirty-six Views of Mount Fuji. By Katsushika Hokusai (1760–1849). Edo period, about 1831. Hagi Uragami Museum, Yamaguchi. *This work on view the special exhibition “Japan, an Artistic Melting Pot” at the Kyoto National Museum.
April 19–June 15
Special Exhibition Commemorating EXPO2025 Osaka, Kansai
"Japan, an Artistic Melting Pot" at Kyoto National Museum
In the year of the World Expo in Osaka, this special exhibition brings together the greatest treasures of Japanese art, which were dynamically shaped by cultures from overseas throughout time. Featuring paintings, sculptures, calligraphic works, and decorative arts from ancient times through the modern era, the exhibition displays approximately 200 cultural properties tracing the history of intercultural exchange within Japanese art.
¥2,000; 9:00-17:30 (last entry 17:00), until 20:00 on Fri. (last entry 19:30); Closed Mon.