Natural History and Naturalism
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In Edo Japan the increased contact with Western nations and China provoked a new interest in the natural sciences and a desire for documentation of Japan’s natural history[1]. As a result, three primary changes in artistic philosophy occurred. Originally, artistic tradition dictated that artists faithfully copy works of Momoyama masters. Though this practice was not all together abandoned, it also became expected of Edo painters to paint and sketch from nature. In addition, it became expected for artists to make their paintings adhere to natural laws as closely as possible, creating naturalist work. Finally, botanical and anatomical paintings became motifs artists would use in decorative arts like hanging scrolls and folding screens.
The primary goal of this exhibition look closely at Edo period phoenixes to argue that the expansion of natural history resulted in more naturalistic phoenixes. In particular, to serve my thesis, this exhibition seeks to look at artist Itō Jakuchū’s (伊藤 若冲) phoenix paintings and their unique naturalism. Many Edo artists kept extensive sketchbooks documenting their natural studies. Jakuchū supposedly kept hundreds of sketches of his beloved chickens, but the majority of these sketches were lost when the sub-buildings of Shōkokuji (相国寺) temple caught fire.
However, for the purpose of this examination, I have included two images from The Inner Bird: Anatomy and Evolution that evidence Jakuchū’s use of naturalism. As one can see, the necks of Jakuchū’s white phoenix (figure B) and pair of phoenixes (figure C) are anatomically correct, unlike the phoenixes of many of his Chinese predecessors. Thus, the phoenix is anatomically correct, despite being a mythical creature. In addition, the feet of Jakuchū’s pair of phoenixes (figure B) and white phoenix (figure C) adhere to anatomical possibilities, proving Jakuchū’s faithfulness natural sciences. I have also included two details from some alternate examples of Jakuchū’s painting that use botanical representations as artistic motifs.
Though most of Jakuchū’s sketches were lost, his fellow artist, Maruyama Ōkyo (円山 応挙, or 圓山 應舉) was also a prolific sketcher. This Edo period artis was well known for his hanging scrolls. Upon observation of Ōkyo’s bird sketches, it is apparent that Ōkyo's phoenixes’ wings are anatomically correct, unlike the depictions made by his Momoyama and Chinese predecessors.
[1] Ueno, Masuzo. “The Western Influence on Natural History in Japan.” Monumeta Nipponica 19.3/4 (1964): 315 – 339. Print.