Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/125

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Survey of Painting


We must especially note, in the second half of the eighteenth century, the founding of the naturalistic Shijo school, whose name is derived from the fourth street of Kioto. Maruyama Okio (1733–1795), an artist who followed first the ancient Japanese, then the Chinese style, and who had settled at Kioto during the height of his fame (about 1772–1789), became its founder. He drew principally from nature. Some reproductions of animal paintings after him are given by Anderson.[1] He did not draw for wood-engraving, but copies of drawings by him appeared in 1837 in the Eno (?) gwafu and in 1851 in the Okio gwafu. Another notable representative of this tendency is Mori Sosen (1746–1821), who distinguished himself especially in his renderings of animals, and particularly monkeys. Some of these are reproduced by Anderson,[2] by Gonse,[3] and by Binyon (pl. 29). His work is already degenerating into excessive delicacy. A purely Chinese school was founded by Okio's most notable rival, Ganku (1749–1838), by basing his style upon that of the masters of the Sung dynasty. He was one of the best painters of modern times, and was noted for his delineations of tigers; an admirable example of these is to be found in Binyon (pl. 28). Lastly, Shirai Naokata was celebrated for his depiction of mice. With the end of the eighteenth century, however, about 1780, European influences began to make themselves felt here and there; and in connection with the increasing impotence of Japanese art, brought about its gradual decline in the nineteenth century. In the same century Yosai (1787–1878), who also worked as a wood-engraver, deserves passing mention.

  1. Pictorial Arts, pls. 29 and 30.
  2. Ibid., pls. 31, 42, and 68.
  3. L'Art Japonais, i. 234, 242.