The Isolation Of Japanese Culture In The Mid-17th Century

Japanese Isolation Japanese culture from the mid-17th century continuing until the late 19th century experienced immense isolation as a nation induced by the ruling Shogun. This odd choice of action originated from the Portuguese introducing western Christianity to the general population of Japan. Once introduced Christian ideology spread rapidly throughout the country, sparking fear into the ruling Shogun concerned with their firm grip over the population. This anxiety led the ruling Shogun to enact the Sakoku foreign relations policy, these policies sealed Japan off from the rest of the world effectively freezing themselves in time for two centuries. Japan experienced ramifications resulting from the Sakoku policies in near every aspect,
traditional art culture was no exception tolerating sizable shifts in artistic motifs, and styles during the transitions into and out of isolation encapsulating this period in Japanese history.
Thesis? Preluding the induction of Sakoku the country was progressing through the Momoyama period, historically this period is generally categorized as beginning in the mid-16th century and coming to an end in the early-17th century. This period was born out of chaotic turmoil surrounding the control of the Japanese throne, resulting in the establishment of three separate rulers in 1570. During this period Japanese art culture progressed organically as any country in the region would have. As European expansionism dawned, Japan began to be contacted by the western world, beginning with Portuguese making contact in 1543. These foreign interactions and economic trades naturally transferred over into the traditional art culture present in Japan, scenes of exotic ships and clothing the likes of which they had never been seen before started to appear within artists renditions. Works of art curating these newly introduced western motifs were categorized as “nanban” translates from Japanese into “southern barbarians”. The most notable works produced within this movement were the “byōbu”,
folding screens which depicting interactions with the namban which were produced before the Sakoku policies were enacted. Southern Barbarians a byōbu painted by an unknown Japanese artist is an excellent example of Nanban art. The screen illustrates a large ship of Portuguese catholic missionaries and merchants traveling to the Japanese shore, contrast between the two cultures is immediately noticeable. The Portuguese, taking up the left side of the painting wear pantaloons which were the common Portuguese garb at the time, and the Japanese on the shore wearing flowing traditional Japanese wear. This contrast shows the how vastly alien the Portuguese people were to the Japanese, without even looking at the cultural circumstances, one can see how drastically different this visiting culture is and could understand the fear of change. This contrast between cultures defines the nanban art movement, foreshadowing the coming repulsion and fear of foreigners.
Production of Nanban works came to sudden halt once the Tokugawa shogunate gained control of the country, soon after they would enact the Sakoku policies, inducing the isolation of japan in 1633.
This enactment had intriguing implications on Japan’s art Culture, which already had a unique style prior to this policy, isolation only made this more defined and pronounced. In terms of mediums “by the end of the seventeenth century, three distinct modes of creative expression flourished” ink paintings coming from craft schools, performing and visual arts which would give rise to Kabuki theatre, and lastly Japans well known ukiyo-e woodblock prints. The impact isolation had on subject matter within these modes led the Japanese to delve back into history, looking towards ancient literature for insperation and refining their own styles. An example of this is seen in Nagasawa Rosetsu’s set of folding screens titled, Landscape and Chinese Figures. The set consists of two sequential paintings which were made from six folding panels, the paintings depict an images from Chinese literature which Rosetsu pulled inspiration from. The paintings together work incredibly well as a set yet consist of incredibly contrasting imagery, both were masterfully painted using black ink on top of golden gilded paper. The right half of the set depicts beautifully eccentric cliffs and caves jutting out of the water illustrated with beautifully controlled strokes of ink, while the right half depicts
a peaceful scene with a man being served tea be the sea shore. Yet the imagery is far from random as Rosetsu pulled from ancient Chinese poet Su Shi’s poem titled “Ode on the Red Cliff”. The Left hand painting is thought to depict another ancient Chinese poet Tao Qian’s work, who was known for being a recluse who normally stayed in a small country retreat, which can be seen within the painting. The isolation induced by Sakoku was not sustainable and came to an end in 1853 after 220 years of isolation, the push for reintegration was forcefully brought on by the United States who were enticed to do so by political incentives. Upon rejoining the global theatre immersion put thing into perspective for the Japanese people, most unanimous was the realization was that as a society they had fallen behind the rest of the world in technology. This was at the forefront of their priorities once the ruling class found its importance to compete economically on a global scale, necessitating the upgrade of their infrastructure to modern day standards. Not only did this apply to the heavy economic industries of Japan but was applied to cultural niches such as the traditional arts. To accomplish the desired change in the countries art Japan brought in Italian instructors to teach and influence painters, this attempt at westernization was met both with open arms and with repulsion. Artists who disagreed with the imposed westernization are categorized into the “Nihonga” movement which roughly translates into "Japanese-style paintings", these artists continued to focus on the motifs which defined their ancestor works continuing hundreds of years of tradition. Contrary to the Nihonga movement many Artists embraced the impending change and are categorized into the “Yōga” movement , these artists are characterized by undeniable influences from the west and contain “European canons, techniques, iconographies, and styles” . This decision to absorb western techniques was far from slow, happening almost overnight as Japan scrambled to recover from 220 years of industrial stagnation. These artists not only were trained by imported instructors but many even travelled abroad to western countries to study western arts and return to practice and teach their findings. Asai Chū was one of the early pioneers of Yōga and founded the first group of western painters, the Meiji Bijutsukai. Chū after having curated his painting ability from many learning experiences abroad produced paintings which are nearly indistinguishable from his European counterparts aside from Japanese subjects. Chū’s painting titled “Harvest” demonstrates his mastery of contemporary techniques of the time, consisting of expressive impressionistic brush strokes and realistic color portrayal. “Harvest” when compared to traditional Japanese painting styles tells only of dissonance, showing the apathetic views artists had towards tradition and the hungering for western modernization. These westernized Yōga paintings such as “Harvest” are testament to how once the Sakoku policies were revoke Japan plunged into improving their infrastructure in every aspect booting themselves to the forefront of innovation. Beginning in 1633 Japan began enacting Sakoku policies which would isolate the country for 220 years. Prior to the enactment being influence by western countries the arts illustrated these interactions in Namban art such as was done in the byōbu titled “southern barbarians” Yet once Sakoku policies were enacted Namban art would dissolve as Japanese culture stagnated in isolation. During this period many artists would turn to the past for inspiration such as Nagasawa Rosetsu did within his piece Landscape and Chinese Figures in which he pulled from Chinese literature. Two hundred and twenty two years after the enactment of Sakoku the policies were revoked revealing to japan how far they have fallen behind the rest of the world, opening the flood gates of the western world’s influence. Asai Chū’s “Harvest” encapsulates this sudden transition within his style near identical to that of western counterparts. These transitions occurring within Japanese art were undeniably induced by the isolation of the country produced by the enactment of the Sakoku policies.