20:
74:
273:, 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.
390:
473:, 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.
85:
277:
428:
424:
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.
416:. 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
400:
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
423:
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
340:
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
294:
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
453:, 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,
227:, 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
461:, 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
372:
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
449:
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,
27:. 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.
219:
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
405:
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.
307:
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
156:
of painting. Although many of his fellow artists criticized his work as too slavishly devoted to natural representation, it proved a success with laypeople.
332:
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.
377:. 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
783:
750:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Maruyama Ōkyo (see index)
803:
798:
186:, novelties that when looked into presented the illusion of a three-dimensional image. It was Ōkyo's first look at Western-style
788:
269:
727:
236:
747:
773:
778:
19:
793:
420:
in Kyoto (now in handscroll form) depicts several animals and plants, each labeled as if in
European guidebook.
182:) class. He apprenticed for a toy shop, where he painted the faces onto dolls. The shop began selling European
195:
187:
251:
paintings. Perhaps most significantly, Ōkyo eagerly studied any
Western paintings or prints he could find.
417:
235:
from 1731 to 1733 and painted images of flowers. However, Ōkyo did not like the artist's treatment of
768:
763:
358:
354:
24:
442:
323:
264:
212:
312:
232:
89:
467:
technique, which uses no outlines, just dark and light shades to create the illusion of volume.
73:
346:
240:
409:
374:
366:
362:
316:
149:
698:. 2nd ed, rev. by Dinwiddie, Donald. Upper Saddle River, New Jersey: Pearson Education Inc.
153:
129:
378:
389:
446:
413:
402:
260:
216:
169:
757:
458:
350:
98:
308:
304:
248:
244:
141:
682:
183:
145:
137:
84:
276:
463:
322:
The public's perception of Ōkyo's skill is evident in a legend recounted by
296:
228:
220:
328:
259:Ōkyo's first major commission came in 1768 from Yūjō, abbot of a temple in
178:
300:
224:
202:
427:
165:
102:
223:, a 13th-century painter known for his detailed flower drawings, and
211:Ōkyo decided to pursue a career as an artist. He first studied under
198:. Ōkyo soon mastered the techniques of drawing stereoscope images (
152:
mixed with
Eastern decorative design emerged, and Ōkyo founded the
748:
Bridge of dreams: the Mary Griggs Burke collection of
Japanese art
426:
388:
342:
311:
in Japan. During his career he painted for wealthy merchants, the
275:
173:
133:
83:
72:
190:, and in 1767 he tried his hand at one of the images. He created
735:
The Way of the Brush: Painting Techniques of China and Japan
408:Ōkyo's painting style merged a tranquil version of Western
93:
shows influence from Western art in its use of perspective.
80:, 1766; pair of sixfold screens; ink and gold on paper.
200:
717:
Discovering the Arts of Japan: A Historical Overview
132:
artist active in the late 18th century. He moved to
59:
40:
33:
708:Paine, Robert Treat, and Soper, Alexander (1981).
345:. Much of the school's work is today preserved at
401:Japanese painting with its new style that fused
715:Sadao, Tsuneko S., and Wada, Stephanie (2003).
737:. North Clarendon, Vermont: Tuttle Publishing.
117:
491:
489:
487:
485:
122:, June 12, 1733 – August 31, 1795)
8:
630:
628:
412:with the Eastern decorative painting of the
591:
589:
579:
577:
558:
556:
521:
519:
517:
515:
513:
503:
501:
703:The Arts of Japan: Late Medieval to Modern
546:
544:
542:
540:
267:. Over the next three years, Ōkyo painted
30:
357:). Noteworthy pupils include Ōkyo's son,
270:The Seven Misfortunes and Seven Fortunes
136:, during which he studied artworks from
18:
481:
341:appeared in other locations, including
724:The Meeting of Eastern and Western Art
148:sources. A personal style of Western
7:
119:円山 応挙, traditional characters: 圓山 應舉
457:, executed in 1773 for the wealthy
719:. New York: Kodansha America, Inc.
14:
710:The Art and Architecture of Japan
231:, a Chinese artist who lived in
168:family in Ano-o, in present-day
396:; hanging scroll; color on silk
728:University of California Press
1:
784:18th-century Japanese artists
284:
172:. As a teenager, he moved to
733:Van Briessen, Fritz (1998).
712:. 3rd ed. Penguin Books Ltd.
176:and joined the townspeople (
201:
16:Japanese artist (1733–1795)
820:
804:People from Kameoka, Kyoto
722:Sullivan, Michael (1989).
299:, decorative screens, and
290:; pair of sixfold screens.
239:, preferring the works of
96:
705:. Kodansha International.
118:
694:Mason, Penelope (2005).
439:Geese Alighting on Water
326:. The story goes that a
196:single-point perspective
799:History of art in Japan
696:History of Japanese Art
789:18th-century Buddhists
701:Noma, Seiroku (1966).
434:
397:
291:
208:, eyeglass pictures).
94:
81:
28:
430:
392:
279:
194:, a small picture in
164:Ōkyo was born into a
87:
76:
22:
451:Kingfisher and Trout
418:Nishimura Collection
25:Tsukioka Yoshitoshi
774:Japanese Buddhists
455:Pine Trees in Snow
435:
398:
394:Peacock and Peahen
292:
243:. He also studied
215:, a member of the
95:
82:
29:
779:Japanese painters
126:Maruyama Masataka
71:
70:
23:Maruyama Ōkyo by
811:
794:Buddhist artists
726:. Berkeley: The
671:
668:
662:
659:
653:
650:
644:
643:Sullivan 16, 18.
641:
635:
632:
623:
622:antonia williams
620:
614:
611:
605:
604:Van Briessen 27.
602:
596:
593:
584:
581:
572:
569:
563:
560:
551:
548:
535:
532:
526:
523:
508:
505:
496:
493:
367:Matsumura Goshun
363:Nagasawa Rosetsu
355:Hyōgo Prefecture
289:
286:
206:
123:
121:
120:
66:
54:
52:
31:
819:
818:
814:
813:
812:
810:
809:
808:
754:
753:
744:
691:
679:
674:
669:
665:
660:
656:
651:
647:
642:
638:
633:
626:
621:
617:
612:
608:
603:
599:
594:
587:
582:
575:
570:
566:
561:
554:
549:
538:
533:
529:
524:
511:
506:
499:
494:
483:
479:
387:
338:
336:Maruyama school
287:
257:
162:
154:Maruyama school
115:
110:
64:
50:
48:
47:
46:
36:
17:
12:
11:
5:
817:
815:
807:
806:
801:
796:
791:
786:
781:
776:
771:
766:
756:
755:
752:
751:
743:
742:External links
740:
739:
738:
731:
720:
713:
706:
699:
690:
687:
686:
685:
678:
675:
673:
672:
670:Paine 227–228.
663:
654:
645:
636:
624:
615:
606:
597:
585:
573:
571:Mason 319–320.
564:
552:
536:
534:Paine 225–226.
527:
509:
497:
480:
478:
475:
386:
383:
349:, a temple in
337:
334:
256:
253:
241:Watanabe Shikō
170:Kameoka, Kyoto
161:
158:
69:
68:
67:(aged 62)
63:31 August 1795
61:
57:
56:
44:
42:
38:
37:
34:
15:
13:
10:
9:
6:
4:
3:
2:
816:
805:
802:
800:
797:
795:
792:
790:
787:
785:
782:
780:
777:
775:
772:
770:
767:
765:
762:
761:
759:
749:
746:
745:
741:
736:
732:
729:
725:
721:
718:
714:
711:
707:
704:
700:
697:
693:
692:
688:
684:
681:
680:
676:
667:
664:
658:
655:
649:
646:
640:
637:
631:
629:
625:
619:
616:
610:
607:
601:
598:
592:
590:
586:
580:
578:
574:
568:
565:
559:
557:
553:
547:
545:
543:
541:
537:
531:
528:
522:
520:
518:
516:
514:
510:
504:
502:
498:
492:
490:
488:
486:
482:
476:
474:
472:
468:
466:
465:
460:
459:Mitsui family
456:
452:
448:
444:
441:, painted at
440:
433:
429:
425:
421:
419:
415:
411:
406:
404:
395:
391:
384:
382:
380:
376:
370:
368:
364:
360:
359:Maruyama Ōzui
356:
352:
348:
344:
335:
333:
331:
330:
325:
320:
318:
314:
310:
306:
305:life drawings
302:
298:
282:
278:
274:
272:
271:
266:
262:
254:
252:
250:
246:
242:
238:
234:
230:
226:
222:
218:
214:
209:
207:
205:
204:
197:
193:
189:
185:
181:
180:
175:
171:
167:
159:
157:
155:
151:
147:
143:
139:
135:
131:
127:
114:
113:Maruyama Ōkyo
108:
104:
100:
99:Japanese name
92:
91:
86:
79:
75:
62:
58:
45:Maruyama Ōkyo
43:
39:
35:Maruyama Ōkyo
32:
26:
21:
734:
723:
716:
709:
702:
695:
666:
657:
648:
639:
618:
609:
600:
567:
530:
495:Sullivan 16.
470:
469:
462:
454:
450:
438:
436:
431:
422:
407:
399:
393:
379:Shijō school
371:
339:
327:
324:Van Briessen
321:
309:pornographic
293:
280:
268:
258:
213:Ishida Yūtei
210:
199:
192:Harbour View
191:
184:stereoscopes
177:
163:
160:Early career
125:
112:
111:
106:
88:
77:
65:(1795-08-31)
55:12 June 1733
769:1795 deaths
764:1733 births
471:Hozu Rapids
414:Kanō school
315:, even the
288: 1780
217:Kanō school
188:perspective
90:Cracked Ice
758:Categories
689:References
661:Paine 227.
652:Paine 225.
634:Sadao 214.
613:Mason 322.
595:Paine 228.
583:Sadao 223.
562:Mason 320.
525:Paine 226.
507:Mason 319.
410:naturalism
297:landscapes
281:Pine Trees
237:proportion
150:naturalism
51:1733-06-12
550:Noma 150.
464:tsuketate
313:shogunate
303:. He did
229:Shen Quan
221:Qian Xuan
683:Yūrei-zu
677:See also
443:Enman'in
347:Daijō-ji
265:Enman'in
233:Nagasaki
225:Qiu Ying
203:megane-e
142:Japanese
130:Japanese
128:, was a
107:Maruyama
97:In this
403:realism
317:emperor
263:called
255:Success
166:farming
146:Western
138:Chinese
124:, born
103:surname
432:Dragon
375:Kiunin
365:, and
351:Kasumi
329:daimyō
179:chōnin
101:, the
477:Notes
385:Style
343:Osaka
301:nudes
174:Kyoto
134:Kyoto
78:Crows
447:Ōtsu
437:His
261:Ōtsu
249:Qing
247:and
245:Ming
144:and
60:Died
41:Born
105:is
760::
627:^
588:^
576:^
555:^
539:^
512:^
500:^
484:^
445:,
381:.
369:.
361:,
319:.
285:c.
283:,
140:,
730:.
353:(
116:(
109:.
53:)
49:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
