Maruyama-Shijouha　円山四条派

KEY WORD :　art history / paintings

Sometimes referred to as Kyouha 京派 or the Kyoto school. A painting in Kyoto which was popular during the late 18c and into the 19c. Part of the term is derived from the name of Maruyama Oukyo 円山応挙 (1733-95), the founder of the Maruyama school, Maruyamaha 円山派, who drew inspiration from a number of sources. As a youth, Oukyo worked for a toy merchant and through this connection began making *megane-e 眼鏡絵, often of actual scenes in Kyoto, which employed Western techniques of one-point perspective and shading. The volume of forms and logical space remained important aspects of his mature style. Oukyo is known for sketching directly from nature *shaseiga 写生画 which can be seen in his sketchbooks, and he promoted this method among his numerous students. Although Oukyo's art shows aspects of Western realism, it did not depart from Japanese traditional style, techniques and themes. Rather, he successfully synthesized certain realistic elements with aspects of Japanese Kanou school *Kanouha 狩野派 style which he learned from his early mentor, Ishida Yuutei 石田幽汀 (1721-86). His painting was also influenced by *Rinpa 琳派, *Tosaha 土佐派, and *Nagasakiha 長崎派 styles, as well as Chinese bird and flower paintings. Oukyo is known to have invented a technique called *tsuketate 付立, in which forms were created using a single sweep of a stiff brush designed for this purpose. Oukyo's most talented and best known students were Nagasawa Rosetsu 長沢蘆雪 (1754-99) and Komai Genki 駒井源き (1747-97). Matsumura Goshun 松村呉春 (1752-1811) established a school on Shijou 四条 street in Kyoto, which later became known as the Shijouha 四条派. Goshun had begun his career as a *nanga 南画 artist, studying under Yosa Buson 与謝蕪村 (1716-83). When Buson died, Goshun changed painting styles in mid-career by turning to Oukyo for inspiration. The Shijou school is similar to the Maruyama school in subject matter and technique. However, rather than Oukyo's emphasis on meticulous detail, the Shijou style retained a freer, softer brushwork stemming from Goshun's training. Of Goshun's students, his younger brother, Matsumura Keibun 松村景文 (1779-1843), and Okamoto Toyohiko 岡本豊彦 (1773-1845) are most famous. Toyohiko's student Shibata Zeshin 柴田是真 (1807-91) is also well-known. Although there are subtle differences between the Maruyama and Shijou styles, they lessened with time. The work of later followers is marked by increasing mannerism and virtuoso brushwork with less attention to nature. The collective term Maruyama-Shijouha has been used since about the end of the Edo period.

REFERENCES:

EXTERNAL LINKS:

NOTES:

(C)2001 Japanese Architecture and Art Net Users System.　No reproduction or republication without written permission. 掲載のテキスト・写真・イラストなど、全てのコンテンツの無断複製・転載を禁じます。