Chats on Japanese Prints. Arthur Davison Ficke
at the trade of his father during his youth, obtaining thus a training in decorative invention that is traceable in all his later work. Upon the death of his father, he came to Yedo and took up the study of painting under the masters of the Tosa and Kano Schools. Gradually, however, the Ukioye style, introduced by Matabei some years before, became his chosen province; and from painting he turned to the designing of woodcuts for book illustrations and broadsheets. Later in life he became a monk; and died probably in 1695, though some authorities say 1714.
HISHIKAWA MORONOBU.
Moronobu's importance in the history of Japanese prints is twofold. He inspirited the Ukioye School with a new vitality; and he turned wood-engraving into an art.
The Ukioye movement, when Moronobu appeared, was still indeterminate. A great personality was needed to crystallize the vague tendencies then in solution. This Moronobu accomplished; and the far-reaching effect of his work was due to the fact that he did not confine his work to painting, but took up the hitherto unexplored field of woodcuts. As we have seen in the previous chapter, there had been produced up to Moronobu's time no illustrated book that could lay claim to artistic value. The little that had been done in this field was crude artizan work without charm. Now Moronobu seized this medium and transformed it. Into his woodcuts he poured that powerful sense of design which he so notably possessed, creating real pictures of striking decorative beauty. These books and prints, widely circulated, carried to the eyes of the masses a new and delightful diversion, spreading far and near the contagious fascination of this lively Ukioye manner of drawing and awakening in the populace a thirst for more of these productions. Matabei had devised the new popular style, but it was Moronobu who threw open the gates of this region to the people.
MORONOBU: A PAIR OF LOVERS.
Black and white. Size 9 × 13½. Unsigned.
Plate 1.
Moronobu's first books appeared about 1660, and from that date to the time of his retirement he brought out more than a hundred books and albums and an unknown number of broadsheets. In all of these his vigorous, genial personality and his strong sense of decoration make themselves felt. Such a print as the album-sheet reproduced in Plate 1 exhibits his characteristic simplicity of sweeping line, the masterly use he makes of black and white contrasts, and the vivid force of his rendering of movement. The firm lines live; the composition is grouped to form a harmonious picture; a dominating sense of form has entered here to transform the chaotic raggedness of his predecessors' attempts. Distorted as these figures may appear to unaccustomed Western eyes, they have unmistakable style and their bold command of expression is the first great landmark in Japanese print history.
All of Moronobu's work was printed in black and white only, but occasionally the sheets were roughly coloured by hand after they had been printed. His designs have little detail; as a rule the scene surrounding his main figures is barely suggested by a few lines; and the figures themselves are hardly more than intense shorthand notations of a theme. But how much life he gives them! No wonder that the populace loved his work, and that his many pupils bore away with them to their own productions the impress of his strong personality and animated style.
Certain of Moronobu's large single-sheet compositions (such as the Lady Standing Under a Cherry Tree, in the Buckingham Collection, Chicago, or the noble Figure of a Woman in the Morse Collection, Evanston), display so fine a power of composition and so unsurpassable a mastery of rhythmic line that there can be no hesitancy in judging him, quite apart from his historical significance, to be an artist of the first order. Nothing that he ever did was undistinguished.
The collector will not find it easy to procure adequate specimens of this artist's work. Moronobu's large single sheets are unobtainable to-day; they could never have been numerous, and the few that have survived the vicissitudes of almost three centuries are now in the hands of museums or collectors who will never part with them. Even his smaller single sheets are uncommon. His work is seldom signed.
Followers of Moronobu.
The powerful impetus of Moronobu's art communicated itself to many pupils.
Morofusa was the eldest son of Moronobu; he collaborated with his father, and produced designs that are in exact imitation of his father's style. His work comprises book illustrations and some large single sheets, and is very rare.
Additional pupils or contemporaries were: Moromasa, Moronaga, Morikuni, Masanojo, Moroshige, Morobei, Masataka, Osawa, Morotsugi, Moromori, Hishikawa Masanobu, Tomofusa, Shimbei, Toshiyuki, Furuyama, Morotane, Ryujo, Hasegawa Toun, Ishikawa Riusen, Ishikawa Riushu, Wowo, Kawashima Shigenobu, Kichi, Yoshimura Katsumasa, and Tsukioka Tange. Many of these are obscure figures, of whose work little is known. Most of them were chiefly book-illustrators.
NISHIKAWA SUKENOBU.
Sukenobu.
The name of Nishikawa Sukenobu brings to mind that long procession of charming girl figures which year by year came from his hand—figures whose sweet monotonous faces and delicately poised bodies move with a pure grace that is perpetually delighting. Lacking the powerful decorative sense of Moronobu, whose lead he in general followed, and never attempting the massive blacks of the master's dashing brush-stroke, Sukenobu yet achieved effects that are more gracious and appealing than those of his great predecessor. Nothing could surpass the delicate harmony of line in such a design as the one reproduced in Plate 2; the willowyness of the young body, the naïve innocence of the head, the movement and rhythm of the flowing garments, are admirably depicted. This was Sukenobu's characteristic note; he lingers in one's memory by virtue of it and none other; he was the least versatile of artists.
He lived between the years 1671 and 1751. During the period of his activity his popularity must have been enormous. The single-sheet prints which he produced were not many, and only a small proportion of these have come down to us. His main work was in the field of illustrated books and albums. More than forty of these are known to-day. They contain chiefly scenes from the lives of women and figures of young girls. Most of them date from 1713 to 1750. They constitute Sukenobu's claim to rank as Moronobu's most important successor in the field of book-illustration. Generally they are printed in black and white only; a few are embellished with colour added by hand. It is not always possible to tell whether this colouring was done when the books were published or whether it was the work of some subsequent owner of the volume.
The delicacy of Sukenobu's designs, and the absence of those peculiar mannerisms and exaggerations which characterize much of the work of this period, serve to make him, of all the Primitives, perhaps the most comprehensible and pleasing to the European taste. To the Japanese connoisseur he recommends himself because of the refinement of his work both in subject and in manner, and because of a certain classic dignity that pervades it.
SUKENOBU: A YOUNG COURTESAN.
Black outlines, with hand-colouring of pale green, orange, and white.
Size 9½ × 6. Unsigned.
Plate 2.
The collector will