![japan-photo:
Fukuda Heihachiro: “Ripples”, 1932The Meiji Crisis in Japanese ArtNew York Times, March 27, 2013
ROME — After more than 200 years of self-imposed isolation Japan re-established diplomatic and trading relations with the outside world in 1854, during the last years of the shoguns. With the restoration of the rule of the Meiji emperor in 1868, Japan was opened up to an unstoppable flood of influence from the West. Even during the period of isolation some artists were exposed to Chinese and Western art through the privileged port of Nagasaki. Chinese artists visited the city, which also acted as a conduit for Western books and prints, introducing techniques such as scientific perspective and chiaroscuro shading. But the vast scale of Western inroads and the collapse of traditional patronage that followed the Meiji restoration threw Japanese art into a state of crisis. In the face of this, artists found themselves dividing into two broad schools: nihonga, which continued to use time-honored Japanese materials and techniques, and yoga, which adopted Western-style oil painting. Nihonga artists are among the least known outside their home country of all the principal historic schools of Japanese painting, and are little represented in international collections. Two important exhibitions of nihonga paintings were held in Rome, in 1911 and 1930. The second event, showing 177 pieces by 79 artists, attracted 166,500.
[….]](http://25.media.tumblr.com/3daa68dbe3060a1a923faefddefb03d9/tumblr_ml93a3Jteh1qbxoleo1_500.jpg)
Fukuda Heihachiro: “Ripples”, 1932
The Meiji Crisis in Japanese Art
New York Times, March 27, 2013ROME — After more than 200 years of self-imposed isolation Japan re-established diplomatic and trading relations with the outside world in 1854, during the last years of the shoguns. With the restoration of the rule of the Meiji emperor in 1868, Japan was opened up to an unstoppable flood of influence from the West.
Even during the period of isolation some artists were exposed to Chinese and Western art through the privileged port of Nagasaki. Chinese artists visited the city, which also acted as a conduit for Western books and prints, introducing techniques such as scientific perspective and chiaroscuro shading.
But the vast scale of Western inroads and the collapse of traditional patronage that followed the Meiji restoration threw Japanese art into a state of crisis. In the face of this, artists found themselves dividing into two broad schools: nihonga, which continued to use time-honored Japanese materials and techniques, and yoga, which adopted Western-style oil painting.
Nihonga artists are among the least known outside their home country of all the principal historic schools of Japanese painting, and are little represented in international collections. Two important exhibitions of nihonga paintings were held in Rome, in 1911 and 1930. The second event, showing 177 pieces by 79 artists, attracted 166,500.[….]
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