The Floating World of Japanese Art at the MNBA
In the context of the celebrations for the 120 years of bilateral relations between Chile and Japan, this past May 24th, the Museo Nacional de Bellas Artes de Santiago inaugurated its most recent exhibition, ‘Japanese Prints and Paintings : Floating World of the Edo Period’, at the Chile gallery.
Summoning the collaboration of the Japanese Embassy, the Chilean-Japanese Chamber of Commerce, the National History Museum and the Decorative Arts Museum, this exhibition comprises 22 polychromatic wood engravings done in the ukiyo-e technique, and 5 paintings done in the sumi-e technique, mostly of the Edo period (1603 - 1868) with some examples of the Meiji period (1868 - 1912).
In fact, the name of the exhibition itself makes reference to the meaning of one of these techniques, the ukiyo-e, which would translate as ‘Images of the Floating World’. On the other hand, sumi-e would translate as ‘black ink’, a descriptive allusion to its main material.
Along the visual works, the exhibition also includes clothing, objects and implements of the period, all of which allow the visitor a more complete vision of the Japanese culture up until mid XIX century.
The prints and paintings belong to the Museum’s permanent collection, but they had not been exhibited since 1927, when they were acquired by the institution. The current exhibition is fruit of a rigorous research and restoration work carried out by the exhibition’s curator, Natalia Keller, and the Museum’s specialists.
In spite of this, the connoiseur will notice in it many gaps of information which make this exhibition less satisfactory than it could have been.
Part of the intention of this exhibition is stressing the influence of Japanese prints in Western art in the XIX century. However, although this influence is suggested in the initial text that opens the exhibition, aside from Judi Alpi’s oil painting, the exhibition does not show any relation to any other works, and thus its intention remains unfulfilled.
Some of the represented artists in this exhibition are Hosoda Eishi, Kikubawa Eizan, Kawanabe Kyosai, Tsukioka Yoshitoshi, Utagawa Toyokuni and Kitagawa Utamaro, although many works belong to unknown artists.
The gallery is divided in two main areas, and these are sub-divided in specialised sections that are interconnected, keeping a dialogue with each other.
The subtle divisions created with hanging panes that imitate rice paper with Japanese motifs bestow a suitable atmosphere to the exhibition, as well as the gamut of colors (willow green, gray and ivory) used throughout.
The subjects tackled around Clothing (kimono: woman, armour: man), Samurai (power and rule) Geishas and Courtesans (earthly delights) and daily life (objects, utensils, sumi-e materials) complement the prints, providing a global vision of the Japanese society of the period.
Most of the prints on display come in three main formats: hashira-e (15 x 90 cms), oban (30 x 50), and kakamono-e (30 x 1000 cms). All dimensions are approximate, since the exhibition provides no information.
None of the sumi-e works displayed have a known author. The first one, a foggy landscape, is mounted over a sheet of japanese paper.
The second one shows a stork resting on a branch, in which the rice paper texture lends it an interesting marbled effect and several levels of depth.
In the third one, a racing horse, the body of the animal is defined with strong, decisive brushstrokes while its mane and tail float light and airy, capturing all the strength and speed of the animal with precision and economy of strokes.
Although most works marvel due to their precision and delicate work, the ink painting "Emperor Junni" by Kawanabe Kyosai stands out among them for its down-to-earth subject (the Emperor fishing) as well as for its energetic brushstrokes, full of expression, balanced with others full of precision and subtlety, all of which confer a special character to this piece, a reflection of the portrayed subject: strong and active but in control.
Also, the small wooden carvings ( Akimono Nezuke) displayed in a cubicle in the middle of the first area, capture the visitor’s attention due to the mastery of their work.
Although their subject (two piles of mice clustering atop each other) may not be agreeable to some, we should remember that the Rat (or mouse) is a symbol of good fortune, industriousness, prosperity and plenty in the Japanese culture, and the daintiness of the carving achieved by the anonymous artist bestows each little mouse an endearing naturalness.
In addition to the paper works, several other objects complete the cultural character of this exhibition: a Samurai sword, a helmet and breastplate of a Samurai armour, a katana with its carved ivory sheath, a wedding kimono, a fan, mirror and little ivory box to carry small items (Inrou), a polychrome porcelain plate of Imari style, a small wooden desk with mother-of-pearl embeddings representing a scene of daily life, a clay pot used for the Tea ceremony, aside from sumi-e implements: brushes, seals, bars of solid ink, plaques to dissolve the ink, water plates for the brushes, etc, all of which demonstrate the delicateness and precision of this technique.
Along these objects, the exhibit also displays the oil painting by Chilean artist Judith Alpi, "White Kimono", which crowns the section on ‘Feminine Customs’ of the exhibition, and is the only example of the influence of Japanese art in the Western arts.
Unfortunately, the Museum does not offer reproductions of any of the works exhibited, and neither does allow photographs in the gallery, so the public must attend in person in order to access the exhibition.
Quite a problem for students, public with disabilities, from regions and around the world, who should also be able to access this important legacy of world culture.
If possible, visit the exhibit with a guided tour (available only in Spanish) so as to get a more complete information on the works, techniques, the culture and the period represented, since the texts accompanying each piece are not enough to fully understand the exhibition in all its depth.
In parallel, there will be several activities around this exhibition: workshops, seminars and storytellers for children.
Event: ‘Estampas y Pinturas Japonesas : Mundo Flotante del Periodo Edo’
Venue: Museo Nacional de Bellas Artes, Jose Miguel de la Barra 650, Santiago, Chile (Metro : Bellas Artes)
Dates: May 25th to August 5th, 2018
Hours: Tuesday to Sunday : 10 am - 6:45pm
Cost: Free
More Info: http://www.mnba.cl/sitio/Contenido/Noticias/86140:Estampas-y-pinturas-japonesas-Mundo-flotante-del-periodo-Edo
"Sleepy", Unknown artist, 1888
Summoning the collaboration of the Japanese Embassy, the Chilean-Japanese Chamber of Commerce, the National History Museum and the Decorative Arts Museum, this exhibition comprises 22 polychromatic wood engravings done in the ukiyo-e technique, and 5 paintings done in the sumi-e technique, mostly of the Edo period (1603 - 1868) with some examples of the Meiji period (1868 - 1912).
In fact, the name of the exhibition itself makes reference to the meaning of one of these techniques, the ukiyo-e, which would translate as ‘Images of the Floating World’. On the other hand, sumi-e would translate as ‘black ink’, a descriptive allusion to its main material.
Along the visual works, the exhibition also includes clothing, objects and implements of the period, all of which allow the visitor a more complete vision of the Japanese culture up until mid XIX century.
"Pleasant: Music Teacher of the Kaiei Period",
Tsukioka Yoshitoshi, (1888)
The prints and paintings belong to the Museum’s permanent collection, but they had not been exhibited since 1927, when they were acquired by the institution. The current exhibition is fruit of a rigorous research and restoration work carried out by the exhibition’s curator, Natalia Keller, and the Museum’s specialists.
In spite of this, the connoiseur will notice in it many gaps of information which make this exhibition less satisfactory than it could have been.
Part of the intention of this exhibition is stressing the influence of Japanese prints in Western art in the XIX century. However, although this influence is suggested in the initial text that opens the exhibition, aside from Judi Alpi’s oil painting, the exhibition does not show any relation to any other works, and thus its intention remains unfulfilled.
"Woman Filling a Bucket with New
Year’s Water", Utagawa Toyokuni (s. XIX)
Some of the represented artists in this exhibition are Hosoda Eishi, Kikubawa Eizan, Kawanabe Kyosai, Tsukioka Yoshitoshi, Utagawa Toyokuni and Kitagawa Utamaro, although many works belong to unknown artists.
The gallery is divided in two main areas, and these are sub-divided in specialised sections that are interconnected, keeping a dialogue with each other.
The subtle divisions created with hanging panes that imitate rice paper with Japanese motifs bestow a suitable atmosphere to the exhibition, as well as the gamut of colors (willow green, gray and ivory) used throughout.
The subjects tackled around Clothing (kimono: woman, armour: man), Samurai (power and rule) Geishas and Courtesans (earthly delights) and daily life (objects, utensils, sumi-e materials) complement the prints, providing a global vision of the Japanese society of the period.
Example of the expressive brushwork by Kawanabe Kyosai,
"Urashima Taro" (Not in exhibition).
Most of the prints on display come in three main formats: hashira-e (15 x 90 cms), oban (30 x 50), and kakamono-e (30 x 1000 cms). All dimensions are approximate, since the exhibition provides no information.
None of the sumi-e works displayed have a known author. The first one, a foggy landscape, is mounted over a sheet of japanese paper.
The second one shows a stork resting on a branch, in which the rice paper texture lends it an interesting marbled effect and several levels of depth.
In the third one, a racing horse, the body of the animal is defined with strong, decisive brushstrokes while its mane and tail float light and airy, capturing all the strength and speed of the animal with precision and economy of strokes.
Although most works marvel due to their precision and delicate work, the ink painting "Emperor Junni" by Kawanabe Kyosai stands out among them for its down-to-earth subject (the Emperor fishing) as well as for its energetic brushstrokes, full of expression, balanced with others full of precision and subtlety, all of which confer a special character to this piece, a reflection of the portrayed subject: strong and active but in control.
Also, the small wooden carvings ( Akimono Nezuke) displayed in a cubicle in the middle of the first area, capture the visitor’s attention due to the mastery of their work.
Although their subject (two piles of mice clustering atop each other) may not be agreeable to some, we should remember that the Rat (or mouse) is a symbol of good fortune, industriousness, prosperity and plenty in the Japanese culture, and the daintiness of the carving achieved by the anonymous artist bestows each little mouse an endearing naturalness.
An example of the hashira-e format
"Prince Genji and Princess Asagao",
Hosoda Eichi (XIX c.)
In addition to the paper works, several other objects complete the cultural character of this exhibition: a Samurai sword, a helmet and breastplate of a Samurai armour, a katana with its carved ivory sheath, a wedding kimono, a fan, mirror and little ivory box to carry small items (Inrou), a polychrome porcelain plate of Imari style, a small wooden desk with mother-of-pearl embeddings representing a scene of daily life, a clay pot used for the Tea ceremony, aside from sumi-e implements: brushes, seals, bars of solid ink, plaques to dissolve the ink, water plates for the brushes, etc, all of which demonstrate the delicateness and precision of this technique.
Along these objects, the exhibit also displays the oil painting by Chilean artist Judith Alpi, "White Kimono", which crowns the section on ‘Feminine Customs’ of the exhibition, and is the only example of the influence of Japanese art in the Western arts.
"White Kimono", Judith Alpi, 1929.
Unfortunately, the Museum does not offer reproductions of any of the works exhibited, and neither does allow photographs in the gallery, so the public must attend in person in order to access the exhibition.
Quite a problem for students, public with disabilities, from regions and around the world, who should also be able to access this important legacy of world culture.
If possible, visit the exhibit with a guided tour (available only in Spanish) so as to get a more complete information on the works, techniques, the culture and the period represented, since the texts accompanying each piece are not enough to fully understand the exhibition in all its depth.
In parallel, there will be several activities around this exhibition: workshops, seminars and storytellers for children.
Event: ‘Estampas y Pinturas Japonesas : Mundo Flotante del Periodo Edo’
Venue: Museo Nacional de Bellas Artes, Jose Miguel de la Barra 650, Santiago, Chile (Metro : Bellas Artes)
Dates: May 25th to August 5th, 2018
Hours: Tuesday to Sunday : 10 am - 6:45pm
Cost: Free
More Info: http://www.mnba.cl/sitio/Contenido/Noticias/86140:Estampas-y-pinturas-japonesas-Mundo-flotante-del-periodo-Edo
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