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Maruyama-Shijouha@‰~ŽRŽlð”h
KEY WORD :@art history / paintings
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Sometimes referred to as Kyouha ‹ž”h or the Kyoto school. A painting in Kyoto which was popular during the late 18c and into the 19c. Part of the term is derived from the name of Maruyama Oukyo ‰~ŽR‰ž‹“ (1733-95), the founder of the Maruyama school, Maruyamaha ‰~ŽR”h, who drew inspiration from a number of sources. As a youth, Oukyo worked for a toy merchant and through this connection began making *megane-e Šá‹ŸŠG, often of actual scenes in Kyoto, which employed Western techniques of one-point perspective and shading. The volume of forms and logical space remained important aspects of his mature style. Oukyo is known for sketching directly from nature *shaseiga ŽÊ¶‰æ which can be seen in his sketchbooks, and he promoted this method among his numerous students. Although Oukyo's art shows aspects of Western realism, it did not depart from Japanese traditional style, techniques and themes. Rather, he successfully synthesized certain realistic elements with aspects of Japanese Kanou school *Kanouha Žë–ì”h style which he learned from his early mentor, Ishida Yuutei Î“c—H’ó (1721-86). His painting was also influenced by *Rinpa —Ô”h, *Tosaha “y²”h, and *Nagasakiha ’·è”h styles, as well as Chinese bird and flower paintings. Oukyo is known to have invented a technique called *tsuketate •t—§, in which forms were created using a single sweep of a stiff brush designed for this purpose. Oukyo's most talented and best known students were Nagasawa Rosetsu ’·‘òåbá (1754-99) and Komai Genki ‹îˆäŒ¹‚«(1747-97). Matsumura Goshun Œ‘ºŒàt (1752-1811) established a school on Shijou Žlð street in Kyoto, which later became known as the Shijouha Žlð”h. Goshun had begun his career as a *nanga “ì‰æ artist, studying under Yosa Buson —^ŽÓ•“‘º (1716-83). When Buson died, Goshun changed painting styles in mid-career by turning to Oukyo for inspiration. The Shijou school is similar to the Maruyama school in subject matter and technique. However, rather than Oukyo's emphasis on meticulous detail, the Shijou style retained a freer, softer brushwork stemming from Goshun's training. Of Goshun's students, his younger brother, Matsumura Keibun Œ‘ºŒi•¶ (1779-1843), and Okamoto Toyohiko ‰ª–{–L•F (1773-1845) are most famous. Toyohiko's student Shibata Zeshin ŽÄ“c¥^ (1807-91) is also well-known. Although there are subtle differences between the Maruyama and Shijou styles, they lessened with time. The work of later followers is marked by increasing mannerism and virtuoso brushwork with less attention to nature. The collective term Maruyama-Shijouha has been used since about the end of the Edo period.
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