The Beauty and Complexity of Minimalism: Pine Trees by Hasegawa Tōhaku and a Shoki-Imari Sake Bottle
The Beauty and Complexity of Minimalism
Pine Trees by Hasegawa Tōhaku and a Shoki-Imari sake bottle Today’s modern world is often complex, colorful, noisy and fast-paced. When I am engaged in art, I frequently look for works that allow me to escape from my hectic lifestyle. Clean lines and use of space appeal to my senses and calm me. Sometimes, what is not stated says more than what is stated.
I have learned from my study of Japanese art history this semester that simplicity seems to be a common theme in many of the artworks produced throughout Japan’s rich history. Of course, this is not always the case; there are plenty of works that are colorful and loud. Use of color, in fact, seems to be an appreciated value in much of the art I have seen. However, there seems to a simplistic nature in even the most complex of Japanese artwork. This minimalism appears to be an appreciated Japanese aesthetic. Two works of Japanese art stood out to me this semester, precisely for their minimalistic nature: Pine Trees by Hasegawa Tōhaku from the late 16th century Momoyama period, and a Shoki-Imari sake bottle from the 17th century Edo period. While there are many differences between these two works, they appear to complement each other. Each of these works has a rich history behind its creation and they both convey a sense of complex simplicity. Before diving into the two works of art presented in this essay, a brief overview of the periods that spawned these artworks is necessary; specifically the relationship of the Momoyama and Edo periods with painting and ceramics, respectively.
1. Momoyama Background Artistically, the Momoyama period (1568-1615) was the most important half-century period in the history of Japan (Swann 211). Momoyama means “Peach Blossom Hill,” and the period drew its name from the flowering peach trees, over-looked by the great Fushimi Castle, which was frequented by the local residents of the prefecture (Hickman 19). Hickman states,
Pine Trees by Hasegawa Tōhaku and a Shoki-Imari sake bottle Today’s modern world is often complex, colorful, noisy and fast-paced. When I am engaged in art, I frequently look for works that allow me to escape from my hectic lifestyle. Clean lines and use of space appeal to my senses and calm me. Sometimes, what is not stated says more than what is stated.
I have learned from my study of Japanese art history this semester that simplicity seems to be a common theme in many of the artworks produced throughout Japan’s rich history. Of course, this is not always the case; there are plenty of works that are colorful and loud. Use of color, in fact, seems to be an appreciated value in much of the art I have seen. However, there seems to a simplistic nature in even the most complex of Japanese artwork. This minimalism appears to be an appreciated Japanese aesthetic. Two works of Japanese art stood out to me this semester, precisely for their minimalistic nature: Pine Trees by Hasegawa Tōhaku from the late 16th century Momoyama period, and a Shoki-Imari sake bottle from the 17th century Edo period. While there are many differences between these two works, they appear to complement each other. Each of these works has a rich history behind its creation and they both convey a sense of complex simplicity. Before diving into the two works of art presented in this essay, a brief overview of the periods that spawned these artworks is necessary; specifically the relationship of the Momoyama and Edo periods with painting and ceramics, respectively.
1. Momoyama Background Artistically, the Momoyama period (1568-1615) was the most important half-century period in the history of Japan (Swann 211). Momoyama means “Peach Blossom Hill,” and the period drew its name from the flowering peach trees, over-looked by the great Fushimi Castle, which was frequented by the local residents of the prefecture (Hickman 19). Hickman states,
Cited: Moes, Robert. Quiet Beauty: Fifty Centuries of Japanese Folk Ceramics from the Montgomery Collection. Alexandria, Virginia: Art Services International, 2003. Print. Hickman, Money. Japan’s Golden Age: Momoyama. London: Yale University Press, 1996. Print. Klein, Adalbert Sanders, Herbert. The World of Japanese Ceramics. New York: Harper & Row, 1978. Print. Seiroku, Noma. The Arts of Japan: Late Medieval to Modern, vol. II. Tokyo: Kodansha International, Ltd., 1967. Print. Swann, Peter. A Concise History of Japanese Art. New York: Harper & Row, 1979. Print. Tazawa, Yutaka. Biographical Dictionary of Japanese Art. New York: Harper & Row, 1981. Print. Watson, William. The Great Japan Exhibition: Art of the Edo Period 1600-1868. London: Alpine Fine Arts Collection Ltd., 1981. Print.