Art in the Edo Period

The Tokugawa shogunate of the Edo period gained undisputed control of the government in 1603 with a commitment to bring peace and economic and political stability to the country; in large measure it was successful. The shogunate survived until 1867, when it was forced to capitulate because of its failure to deal with pressure from Western nations to open the country to foreign trade. One of the dominant themes in the Edo period was the repressive policies of the shogunate and the attempts of artists to escape these strictures. The foremost of these was the closing of the country to foreigners and the accoutrements of their cultures, and the imposition of strict codes of behavior affecting every aspect of life, the clothes one wore, the person one married, and the activities one could or should not pursue.

In the early years of the Edo period, however, the full impact of Tokugawa policies had not yet been felt, and some of Japan's finest expressions in architecture and painting were produced: Katsura Palace in Kyoto and the paintings of Sotatsu, pioneer of the Rimpa school.

Architecture

Katsura Detached Palace, built in imitation of Prince Genji's palace, contains a cluster of shoin buildings that combine elements of classic Japanese architecture with innovative restatements. The whole complex is surrounded by a beautiful garden with paths for walking.

The city of Edo was repeatedly struck by fires and this led to a simplified architecture for an easy rebuilding. Lumber was gathered and stored in a nearby towns approaching winter when the dry weather helped fire spread. Once a fire broke out and was extinguished, these would be sent to Edo and rows and rows of houses would be quickly rebuilt. Due to the shogun's policy of sankin kotai, the daimyo constructed large houses and constructed walkthrough parks for their enjoyment as well as guests'. Ko¯rakuen is a park from that period that still exists and is open to the public for an afternoon walk.

Painting

Sotatsu evolved a superb decorative style by re-creating themes from classical literature, using brilliantly colored figures and motifs from the natural world set against gold-leaf backgrounds. One of his finest works is the pair of screens The Waves at Matsushima in the Freer Gallery in Washington, D.C. A century later, Korin reworked Sotatsu's style and created visually gorgeous works uniquely his own. Perhaps his finest are the screen paintings of red and white plum blossoms.
Woodblock prints and Bunjinga

The school of art best known in the West is that of the Ukiyo-e paintings and woodblock prints of the demimonde, the world of the kabuki theater and the brothel district. Ukiyo-e prints began to be produced in the late 17th century, but in 1764 Harunobu produced the first polychrome print. Print designers of the next generation, including Torii Kiyonaga and Utamaro, created elegant and sometimes insightful depictions of courtesans.

In the 19th century the dominant figure was Hiroshige, a creator of romantic and somewhat sentimental landscape prints. The odd angles and shapes through which Hiroshige often viewed landscape, and the work of Kiyonaga and Utamaro, with its emphasis on flat planes and strong linear outlines, had a profound impact on such Western artists as Edgar Degas and Vincent van Gogh.

Another school of painting contemporary with Ukiyo-e was Bunjinga, a style based on paintings executed by Chinese scholar-painters. Just as Ukiyo-e artists chose to depict figures from life outside the strictures of the Tokugawa shogunate, Bunjin artists turned to Chinese culture. The exemplars of this style are Ike no Taiga, Yosa Buson, Tanomura Chikuden, and Yamamoto Baiitsu.