Nihonga

Rakuyō (落葉, Fallen Leaves) by Hishida Shunsō, Important Cultural Property (1909)
Fruit by Kobayashi Kokei (1910)
Enbu (炎舞, Dance of Flames) by Gyoshū Hayami, Important Cultural Property (1925)
Madaraneko (斑猫, Tabby Cat) by Takeuchi Seihō, Important Cultural Property (1924)
Jo no Mai (序の舞, Noh Dance Prelude) by Uemura Shōen (1936)

Nihonga (日本画, "Japanese-style paintings") are Japanese paintings from about 1900 onwards that have been made in accordance with traditional Japanese artistic conventions, techniques and materials. While based on traditions over a thousand years old, the term was coined in the Meiji period of Imperial Japan, to distinguish such works from Western-style paintings, or Yōga (洋画).

History

The impetus for reinvigorating traditional painting by developing a more modern Japanese style came largely from many artist/educators, which included; Shiokawa Bunrin, Kōno Bairei, Tomioka Tessai, and art critics Okakura Tenshin and Ernest Fenollosa who attempted to combat Meiji Japan's infatuation with Western culture by emphasizing to the Japanese the importance and beauty of native Japanese traditional arts. These two men played important roles in developing the curricula at major art schools, and actively encouraged and patronized artists.

Nihonga was not simply a continuation of older painting traditions. In comparison with Yamato-e the range of subjects was broadened. Moreover, stylistic and technical elements from several traditional schools, such as the Kanō-ha, Rinpa and Maruyama Ōkyo were blended together. The distinctions that had existed among schools in the Edo period were minimized.

However, in many cases Nihonga artists also adopted realistic Western painting techniques, such as perspective and shading. Because of this tendency to synthesize, although Nihonga form a distinct category within the Japanese annual Nitten exhibitions, in recent years, it has become increasingly difficult to draw a distinct separation in either techniques or materials between Nihonga and Yōga.

The artist Tenmyouya Hisashi has (b. 1966) developed a new art concept in 2001 called "Neo-Nihonga".

Development outside Japan

Nihonga has a following around the world; notable Nihonga artists who are not based in Japan are Hiroshi Senju, the Canadian artist Miyuki Tanobe, American artists Makoto Fujimura and Judith Kruger,[1] and Indian artist Madhu Jain.[2] Taiwanese artist Yiching Chen teaches workshops in Paris.[3] Judith Kruger initiated and taught the course "Nihonga: Then and Now" at the School of the Art Institute of Chicago and at the Savannah, Georgia Department of Cultural Affairs.

Contemporary Nihonga has been the mainstay of New York's Dillon Gallery.[4] Key artists from the "golden age of post war Nihonga" from 1985 to 1993 based at Tokyo University of the Arts have produced global artists whose training in Nihonga has served as a foundation. Takashi Murakami, Hiroshi Senju, Norihiko Saito, Chen Wenguang, Keizaburo Okamura and Makoto Fujimura are the leading artists exhibiting globally, all coming out of the distinguished Doctorate level curriculum at Tokyo University of the Arts. Most of these artists are represented by Dillon Gallery.

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日本語: 日本画
polski: Nihonga
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suomi: Nihonga
中文: 膠彩畫