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284:, a depiction of the results of both bad and good karma. The three scrolls total about 148 ft (45 m) in length. Ōkyo tried to find models for the people depicted in them, even for the shocking images such as a man being ripped in two by frightened bulls. His introduction to the work states that he believed that people needed to see reality, not imaginary images of Nirvana or Hell, if they were to truly believe in Buddhist principles.
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484:, painted in 1795, is one of Ōkyo's later works. On two eightfold screens it depicts a tree and a cluster of rocks with some dragons. The work thus shows Ōkyo's ability to render the natural elements in a convincingly realistic fashion. However, the dragons, according to art critics such as Paine, demonstrate a weakness; they are treated academically, thus losing their grand, legendary essence.
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with a decorative and reflective feel. This was achieved through skillful brush handling; Ōkyo painted with a broad, flat brush, which he would load with more paint on one side. This created broad strokes that vary in paint coverage. Nature was not his only subject; many works by Ōkyo depict normal scenes from life in Kyoto's commercial area.
427:. His works show a Western understanding of highlight and shadow. His realism differed from previous Japanese schools in its devotion to nature as the ultimate source with no regard for sentiment. Ōkyo's intricately detailed plant and animal sketches show a great influence from European nature drawings. An album of leaves in the
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Maruyama style is a school of painting founded by the mid-Edo period painter
Maruyama Okyo. One of the leading schools of early modern Japanese painting, the Maruyama style was based on the realistic sensibilities of the emerging townships of Kyoto in the mid-18th century and had a major influence on
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Still, Ōkyo's works remain
Japanese. Unlike European painting, Ōkyo's images have very few midtones. Moreover, he follows the Eastern tradition in depicting objects with very little setting; often his pictures feature a single subject on a plain background. The result is a more immediate naturalism
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Success prompted Ōkyo to start a school in Kyoto, where he could teach his new style. He was a talented art teacher, and he soon took on many students. He taught them to rely on nature to render images in a realistic picture of light, shadow, and forms. The school grew popular, and branches soon
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Other painters were critical of Ōkyo's style. They found it to be overly concerned with physical appearances, alleging that he was too beholden to the real world and produced undignified works. Nevertheless, his style proved popular with the public, and commissions came in to do
Western-style
464:, painted in 1769, features a bird near the top of the image, waiting for a fish. The trout swims under a large rock near the center. Bird, fish, and stone all appear as they do in nature, creating a matter-of-fact, comprehensible, and natural-looking piece. Later in his oeuvre,
238:, a 16th-century figure painter. In fact, the "kyo" in Ōkyo's name was adopted in tribute to Ch'ien Hsüan. Ōkyo even briefly adopted the Chinese practice of signing his name with one character, so for a time he was known as Ōkyo En. He studied the works of
472:, is realistic despite being in the Japanese idiom of ink on a gold background. The two six-panel screens show tree bark and pine needles separated by differing brush strokes, and the white snow seems to weigh down the branches. The bark is painted in the
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Goshun joined Ōkyo's school in 1787. That year, the
Maruyama school took a commission to paint screens for Daijō-ji. Later that year, Kyoto suffered a devastating fire, so Ōkyo and Goshun moved into a temple called
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in 1767, is an early example of his mature style. The subject is treated as a part of nature; nothing philosophical is implied as had been done with such imagery in the East Asian tradition. Likewise,
38:. Maruyama Okyo was well known for his true-to-life paintings. The story, illustrated by this print, tells of the time Okyo painted a ghost so "realistically" that it came to life and frightened him.
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and ultimately a bigger influence on Ōkyo than the stereoscope images. During these formative years, Ōkyo studied
Chinese painting as well. He particularly admired the works of
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with traditional decorative elements. It is characterised by the use of a technique known as tsukeitate, in which a frame is not drawn and ink shading is added.
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and used them for material in his paintings. Ōkyo was probably the first
Japanese artist to do life drawings from nude models. The subject was still considered
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of painting. Although many of his fellow artists criticized his work as too slavishly devoted to natural representation, it proved a success with laypeople.
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commissioned Ōkyo to paint a "ghost image" of a lost family member. Once the work was completed, the ghost image came off the painting and flew away.
388:. The two became fast friends, and Ōkyo refused to regard their relationship as that of a teacher and student. Goshun later went on to found the
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761:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Maruyama Ōkyo (see index)
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in Kyoto (now in handscroll form) depicts several animals and plants, each labeled as if in
European guidebook.
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paintings. Perhaps most significantly, Ōkyo eagerly studied any
Western paintings or prints he could find.
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from 1731 to 1733 and painted images of flowers. However, Ōkyo did not like the artist's treatment of
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technique, which uses no outlines, just dark and light shades to create the illusion of volume.
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The public's perception of Ōkyo's skill is evident in a legend recounted by
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mixed with
Eastern decorative design emerged, and Ōkyo founded the
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Bridge of dreams: the Mary Griggs Burke collection of
Japanese art
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in Japan. During his career he painted for wealthy merchants, the
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The Way of the Brush: Painting Techniques of China and Japan
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shows influence from Western art in its use of perspective.
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Discovering the Arts of Japan: A Historical Overview
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artist active in the late 18th century. He moved to
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719:Paine, Robert Treat, and Soper, Alexander (1981).
356:. Much of the school's work is today preserved at
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726:Sadao, Tsuneko S., and Wada, Stephanie (2003).
748:. North Clarendon, Vermont: Tuttle Publishing.
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368:). Noteworthy pupils include Ōkyo's son,
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130:円山 応挙, traditional characters: 圓山 應舉
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730:. New York: Kodansha America, Inc.
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183:. As a teenager, he moved to
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723:. 3rd ed. Penguin Books Ltd.
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324:shogunate
314:. He did
240:Shen Quan
232:Qian Xuan
694:Yūrei-zu
688:See also
454:Enman'in
358:Daijō-ji
276:Enman'in
244:Nagasaki
236:Qiu Ying
214:megane-e
153:Japanese
141:Japanese
139:, was a
118:Maruyama
108:In this
414:realism
328:emperor
274:called
266:Success
177:farming
157:Western
149:Chinese
135:, born
114:surname
443:Dragon
386:Kiunin
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340:daimyō
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312:nudes
185:Kyoto
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260:Qing
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