By: Lilu Goren
Introduction
Japanese culture and art have a deep connection to the natural world. For a long time, Japan has embodied both its tranquility and transformative power. This exhibition explores nature-driven Japanese art from the Edo period (1615-1868). Guided by a key word, mujō, or impermanence, the works in this exhibition highlight the fleeting beauty of nature. The exhibition brings together five woodblock prints which serve as a lens through which visitors can reflect on humanity’s relationship with the natural world.
Overview and Key Concepts
The pieces I have selected highlight themes of seasonal landscapes, weather, and the dynamic forces of nature. Each work adds to the underlying narrative and theme of the exhibition, which is the concept of mujō. Mujō is a core concept in Japanese aesthetics, deeply rooted in Zen Buddhism and Shintoism. It encapsulates the idea that everything around us is constantly changing, reflecting the ephemeral nature of life and the world around us. In Japanese culture, mujō often symbolizes the fleeting beauty of natural phenomena. Edo-period artists like Utagawa Hiroshige and Katsushika Hokusai often reflected this concept in their work. Like in Plum Garden at Kamata, cherry blossoms bloom briefly before falling, and like in The Great Wave, waves rise and crash, symbolizing power and impermanence. Mujō unifies my selected artworks by showing how nature’s impermanence influences both the physical and spiritual worlds. Additionally, the term ukiyo-e or “pictures of the floating world” deepens this discussion. “Floating world” refers to the transient pleasures of life, resonating with mujō, emphasizing the ever-changing nature of existence. Both concepts focus on ephemerality and reinforce the philosophical foundations of the art in the Edo period. By incorporating ukiyo-e and mujō’s double meanings, the exhibition invites viewers to not only consider the fleeting beauty of nature but also its parallel to the human experience.
Exhibition Catalogue
Image 1
Title: Plum Garden at Kamata (1857)
Artist: Utagawa Hiroshige
Period: Edo Period (1615-1868)
Medium: Woodblock print
Visual Analysis: This woodblock print by Utagawa Hiroshige portrays a serene plum garden in early spring, with subtle and delicate blossoms contrasting against a pink sky. The composition emphasizes the beauty of nature’s repetition and the effects it has on human life. The intricate details of the branches and the people below them reflect the appreciation of nature in Japanese culture and the knowledge that it is impermanent. Hiroshige’s use of color and composition allows viewers to stop and enjoy the stillness of the image and appreciate the transient beauty of nature’s cycles. This goes to embody the theme of seasonal landscapes in my exhibition.
Image 2
Title: Sudden Shower in Shōno (ca.1833-34)
Artist: Utagawa Hiroshige
Period: Edo Period (1615-1868)
Medium: Woodblock print
Visual Analysis: Sudden Shower in Shōno captures a group of travelers caught in a sudden rainstorm. The slanted lines of the rain and the figures huddled together under straw hats and capes create a sense of urgency and movement throughout the piece. In contrast, the background is still and muted, implying the isolation brought out by the rain. Hiroshige beautifully uses viewpoint to convey both the power of the weather and the people’s susceptibility. This print ties into the overarching theme of how quickly nature can change and impact daily life. It also emphasizes the fascination artists alive during the Edo period had with the symbolism behind each and every natural phenomenon.
Image 3
Title: Under the Wave off Kanagawa or The Great Wave (ca. 1830-32)
Artist: Katsushika Hokusai
Period: Edo Period (1615-1868)
Medium: Woodblock print
Visual Analysis: Hokusai’s The Great Wave is known as one of the most iconic depictions of nature’s power in Japanese art. The massive wave in the print dominates the composition as it consumes the small boats beneath it. Mount Fuji, a ginormous mountain, hides in the background of the piece and is depicted as small and calm in comparison to the wave – further highlighting the overwhelming force of the ocean. The wave’s claw-like peaks embody the theme of hazard in nature and in turn, the respect all humans should for it and its power over us. Additionally, this piece further ties into the exhibition’s theme by highlighting the power and unpredictability of the elements and stands as the exhibition’s highlight piece.
Image 4
Title: Fuji From Gotenyama on the Tōkaidō at Shinagawa
Artist: Katsushika Hokusai
Period: Edo period (1615-1868)
Medium: Woodblock print
Visual Analysis: This print depicts a scene that underscores the fleeting beauty of spring and cherry trees. The tranquil view of Mount Fuji behind the cherry blossoms allows for a counterpoint to the dramatic scene in The Great Wave. The cherry blossoms, a cultural symbol of transience, bloom radiantly , framing the backdrop of the enduring Mount Fuji. The juxtaposition of the ephemeral blossoms with the resilient mountain encapsulates the concept of mujō, highlighting the delicate balance between life’s fleeting moments and its enduring constants. The piece’s composition adds depth and meditatively reflects nature’s duality – ephemerality and consistency. Together with Plum Garden at Kamata, this image deepens the forum between fleeting moments and enduring symbols, connecting the works across the exhibition.
Image 5
Title: Evening Snow at Kanbara (ca. 1833-34)
Artist: Utagawa Hiroshige
Period: Edo Period (1615-1868)
Medium: Woodblock print
Visual Analysis: This piece’s depiction of a snow-blanketed village captures the tranquility and quiet of winter. This contrasts with the movement and gravity in Sudden Shower in Shōno. While the storm in Sudden Shower in Shōno portrays nature’s unpredictability, Evening Snow at Kanbara reflects nature’s slower yet equally transformative power. The snowfall, much like the rainstorm, alters the environment and disrupts daily life, though in a softer, more contemplative way. Both works underscore how we are vulnerable to natural forces, whether having to rush to find dry shelter or adjusting to winter and snow. This depiction of natural transformation resonates with the concept of mujo, as the snow’s presence is fleeting, reshaping the landscape temporarily but leaving a lasting impression. It serves as a gentle reminder of our vulnerability to natural forces and the inevitability of change. By juxtaposing these works, the exhibition highlights the varied ways in which nature impacts us, from its sudden outbursts to its quiet and slow transformations.
Exhibition Layout
My final exhibition layout shifts the focus to the two new works, which encapsulate the dual theme of fleeting beauty and contemplative transformations. These pieces now anchor the exhibition’s narrative, serving as a profound representation of mujō along with the other works supporting this central idea. The exhibition’s flow is crafted to embody mujō, with gentle curves and pathways leading visitors from one thematic focus to another, from room to room, helping to reflect on the natural progression and constant change inherent in life. These passages are transition areas between the main focal points and are designed to prepare the visitor emotionally and intellectually for the next theme, enhancing the overall narrative of impermanence.
Room 1: Fleeting beauty
The first room sets the tone for the exhibition, focusing on the fleeting beauty of nature as a reflection of mujō. The key work being Fuji from Gotenyama, this space will capture the delicate balance between life’s transient moments and its enduring constants. Complemented by Plum Garden at Kamata, the room explores seasonal transitions, inviting visitors to reflect on the cyclical nature of life. The design amplifies the theme with warm, natural lighting and subtle floral scents, immersing visitors into the serene yet poignant atmosphere of spring.
Room 2: Contemplative transformations
Transitioning from fleeting beauty to quiet transformation, the second room focuses more on the meditative aspects of nature’s impermanence. Evening Snow at Kanbara serves as the centerpiece, offering a calm depiction of a village covered in snow. The stillness of the scene contrasts with the urgency of Sudden Shower at Shono, which captures the unpredictability of a rainstorm. Together, these works explore how nature’s forces reshape the world, sometimes subtly, sometimes dramatically. The room’s atmosphere is enhanced with dim lighting, cool tones, and ambient sounds of snowfall or distant rain, immersing visitors in the mood of the pieces.
Room 3: Nature’s Immense Power
The final room culminates the exhibition with a dramatic exploration of nature’s overwhelming power. The Great Wave takes center stage, dominating the space with its depiction of the ocean’s immense force. The artwork’s claw-like waves towering over the small boats beneath it emphasize human’s vulnerability to nature’s dynamic and unpredictable energy. The room’s design reflects this intensity, with a spotlight that amplifies the drama of the wave and soundscapes of crashing water that creates a visceral, immersive experience.
By placing Fuji from Gotenyama and Evening Snow at Kanbara at the heart of the exhibition but still ending with The Great Wave, the new layout offers a richer, more nuanced exploration of mujō or impermanence, guiding viewers from the fleeting beauty of life to its transformative and powerful forces. Each room builds upon the last, offering visitors an evolving experience of mujō.
Conclusion
This exhibition allows viewers to reflect on their place within the natural world through the lens of mujō. It aims to highlight key aspects of nature, such as transience and transformative power. The selected pieces explore nature’s capacity to transform the world around us through the serene repetition of changing seasons to the fleeting intensity of storms and the stillness of snow. The key concept for this exhibition “mujō” as well as “ukiyo-e” tie all five images together, stressing the brevity of any natural phenomenon and its deep effect on human life. By capturing the evanescent beauty of a cherry blossom tree or the overwhelming force of a wave, these works provide a moment of reflection on one’s relationship with nature. Together, they depict how artists during the Edo period not only used nature as a subject but as a lens to understand the cycles of life and where we as humans stand within them.
Annotated Bibliography:
- Kidder, Edward. Art of Japan – Kidder Edo. Park Lane, 1985.
Kidder’s analysis of Japanese art during the Edo period provided a broad overview of the artistic movements of the time for my midterm project. He detailed the cultural influences, aesthetics, and prominent works. Kidder discusses the significant developments in woodblock prints during the Edo period, with artists like Katsushika Hokusai and Utagawa Hiroshige leading the movement. I used both of these artists and their pieces in my project. My project focuses on the portrayal of nature in Edo period art and how it revealed more prominent philosophical beliefs and cultural values of Japanese people. Kidder’s detailed exploration of Edo art and its emphasis on nature align closely with the approach I used for my project. The excerpt provided analyses that illustrated the artists’ techniques, which benefitted my project and vision for my exhibition. Additionally, Kidder’s explorations are rich in detail and provided me with a nuanced understanding of the visual language of Edo-period art and artists. It supported my visual analysis of my chosen pieces by offering a historical perspective. Overall, this text from my bibliography aligned very well with my thematic focus on nature as a dynamic force in Japanese art and enhanced the quality of my exhibition so that my classmates could immerse themselves fully.
- Marra, Michele. “Japanese Aesthetics: The Construction of Meaning.” Philosophy East and West 45, no. 3 (1995)
Michele Marra’s essay explores the interplay of aesthetics and impermanence (mujō) in Japanese philosophy and art. Drawing on Buddhist principles and post-modern critiques, Marra delves into how Japanese thought, particularly during the medieval period, frames impermanence as a central theme. He highlights how Buddhist ideas, such as mujō, challenge Western epistemological constructs by rejecting fixed truths in favor of a dynamic, ever-changing reality. This essay is highly relevant to my project as it provides a deeper understanding of the philosophical underpinnings of mujō and its expression in art, mainly through the lens of zen aesthetics and the tension between presence and absence. The discussion of how impermanence informs artistic practices offers valuable insights into the cultural and spiritual context of edo-period artworks featured in my exhibition.
Sources
Baker, Joan Stanley. “Japanese Art.” Scribd, Scribd, www.scribd.com/document/48275609/Japanese-Art-by-Joan-Stanley-Baker. Accessed 17 Oct. 2024.
Kidder, Edward. Art of Japan – Kidder Edo. Park Lane, 1985.
Smith II, Henry D. Hokusai and the Blue Revolution in Edo Prints, www.columbia.edu/~hds2/pdf/2005_Hokusai_and_the_Blue_Revolution.pdf. Accessed 17 Oct. 2024.
Ford, Barbara Brennan. The Arts of Japan. Vol. 45, The Metropolitan Museum of Art.
Matsunosuke, Nishiyama, and Gerald Groemer. “EDO PUBLISHING AND UKIYO-E.” In Edo Culture: Daily Life and Diversions in Urban Japan, 1600-1868, 64–75. University of Hawai’i Press, 1997. http://www.jstor.org/stable/j.ctt6wqdbr.9.
Image Sources
Hiroshige, Utagawa. “Utagawa Hiroshige: Plum Garden at Kamata: Japan: Edo Period (1615–1868).” The Metropolitan Museum of Art, 1 Jan. 1970, www.metmuseum.org/art/collection/search/53681.
Hiroshige, Utagawa. “Utagawa Hiroshige: Sudden Shower in Shōno: Japan: Edo Period (1615–1868).” The Metropolitan Museum of Art, www.metmuseum.org/art/collection/search/36967. Accessed 18 Oct. 2024.
Hokusai, Katsushika. “Katsushika Hokusai: Under the Wave off Kanagawa (Kanagawa Oki Nami Ura), Also Known as the Great Wave, from the Series Thirty-Six Views of Mount Fuji (Fugaku Sanjūrokkei): Japan: Edo Period (1615–1868).” The Metropolitan Museum of Art, www.metmuseum.org/art/collection/search/45434. Accessed 18 Oct. 2024.
Hiroshige, Utagawa. “Evening Snow at Kanbara.” Edo period (1615-1868). The Metropolitan Museum of Art, n.d. Japan. https://www.metmuseum.org/art/collection/search/56915 .
Hokusai, Katsushika. “Fuji from Gotenyama on the Tōkaidō at Shinagawa.” Edo period (1615-1868). The Metropolitan Museum of Art, n.d. Japan. https://www.metmuseum.org/art/collection/search/55223.
