Aesthetics of the Edo Period: Exploring Japan’s Golden Age of Art
Aesthetics of the Edo Period: Exploring Japan’s Golden Age of Art
The Edo period in Japan, from 1603 to 1868, was when some of the world's greatest artworks were made. Edo, Japan, is now where Tokyo, Japan, is today, with great art pieces such as Under the Wave of Kanagawa, and all 53 stations of the Tokaido Road were made during this time. The style of art was prominently of the ukiyo-e, which was woodblock printing. In today's blog, I want to pay tribute to an Eastern culture that has had unique art stylizations that are still in place today. The first painting I want to go over is by far the most notable painting of this time. It has sparked a whole style of how to draw waves, as well as having cool-toned but vibrant colors.
Under the Wave off Kanagawa by Katsushika Hokusai, ca. 1830–32, Edo, Japan, Woodblock print; ink and color on paper
Under the Wave off Kanagawa is one of the most famous woodblock prints in existence, made by the Japanese artist Katsushika Hokusai circa 1831. This painting was made as part of Hokusai’s Thirty-Six Views of Mount Fuji series that Hokusai was making. This painting was made to show a contrast between nature’s power and the fragility of humanity. Under the Wave off Kanagawa was created in Hokusai's 70s, where he was influenced by traditional Japanese art styles as well as a more Western perspective. This painting is celebrated as a timeless image of the power of nature worldwide and can be seen in artwork even today.
When you take a first glance at The Under the Wave of Kanagawa, the movement of the painting almost hits you like a theoretical wave. The wave itself isn't just about movement, but it is a towering force. The way that the foam on top of the waves is drawn is claw-like and curls downward towards the boats below. It adds an earlier feeling of dread as it almost looks like the sea is about to claim he had another boat with humans on it as victims. You can see on the boats that the humans are huddled downward, almost like they're praying for safe passage over these monstrous waves.
With the chaotic forces at play in the foreground of the painting, it's difficult to pull your eyes away from them and see Mount Fuji in the background. Mount Fuji here is small and calm compared to this ferocious wave about to swallow these sailors whole, almost like it's untouchable by the waves.
Visualization-wise, this painting brings out many emotions when first viewed, such as wonder at how a wave can be so high, followed by terror that's almost palpable for the people below the towering wave.
The composition of this painting is done beautifully, as the wave isn't centered initially, but the top of the wave almost points exactly towards the middle of the painting. On the right side, the top of the water almost looks icy and more smoothed out compared to the left side of the painting, where the sea foam is jagged and curls towards the sailors. This leads into how the line art of this particular painting flows quite well, just like the sea. The smooth lines of the waves, leading into the jagged curls of the sea foam, lean into how the line are of this particular period of art in Japan used curves quite well in their lines good finally I want to talk about the color, as this painting really only uses a few colors, with this deep Persian blue being the staple color of choice for it. In this era of time, this type of blue was essentially cutting-edge painting technology at the time. Not only did the blue in the vibrant waves give depth to the water, but the darker blue colors also gave a sense of danger.
Personally, this is an artwork I feel like I would put either in my living room, in a themed room around Japan, as I do love Japan, or I would put this in a bathroom for the symbolism of treacherous waters.
14th station: Yoshiwara, The Fifty-three Stations of the Tōkaidō by Utagawa Hiroshige, 1833–1834, Edo, Japan, Woodblock print: ink on paper
Hiroshige was a master of ukiyo-e in his own right. He was best known for his landscape paintings, specifically along the route from Edo to Kyoto in 1832. The landscape paintings that he painted along this route were known as the Fifty-Three Stations of the Tokaido. Hiroshige was masterful in his works of blending natural beauty with human presence, the way that the landscapes along the road he passed flowed endlessly, while still showing the day-to-day traveling of the Japanese people from Edo to Kyoto. Hiroshige was invited to go from Edo to Kyoto with the shogun's entourage, and he got the idea to document each rest stop along the way. Thus, the Fifty-Three Stations of the Tokaido were made.
When viewing the 14th station, my eye is immediately drawn to the trees leading down the winding path. Your eyes want to follow the road the entire way, trying to catch a glimpse of where the next town will be. The composition of the painting creates A beautifully rhythmic structure that keeps the eye winding down the trail till you see Mount Fuji in the background, far in the distance. The line work is light and delicate, especially around the trees and land. This leads to some of the structures blending into each other in a way that forms well with the painting. Lastly is the color of the painting. On the left side, there's hardly any color difference besides the earthy tones of the trees and land, and a little bit of the cooler tones of the sky and water. Towards the center/right of the painting is a different story, as the horse has riders who have more brightly colored items of clothing on, making them the center point of the painting and standing out more so than the foliage around them. Another thing I've noticed about this particular painting is that the trees that were focused on towards the middle of the painting make a sort of archway, a gate into the next length of the journey, if you will.
Emotion-wise, I'm mixed with a small twinge of fear for how long the journey is for these people, as this is only the 14th station out of 53 stations. Another emotion I felt, though, was a calming feeling like the water below their feet. It feels like the ride here will be smooth and relaxing with no real issues. Mount Fuji towers in the distance, far away to the eye but towering above all nonetheless. It adds a sense of destination to this entourage of individuals. They almost feel like they know where they must go, but will they be able to make it there?
I don't think this particular piece of artwork would fit very well in a home setting unless you were living in Japan, specifically in a small village. I think it would best fit in a Japanese national art museum along with other station pieces from the 53 stations of the Tōkaidō. Showing the journey along this seemingly never-ending road.
Beauty in Snow by Toensai Kanshi, ca. 1765, Edo, Japan, Hanging scroll: ink and color on paper
This artwork was not done with woodblock prints but with a hanging scroll. The artist Kanshi was known for his full-colored printing of bijin-ga, which were beautiful women. Although Kanshi was not as widely known as other artists such as Suzuki Harunobu or Kitagawa Utamaro, who had popularized the themes of beautiful women with grace, Kanshi still made a name for himself with his Beauty in Snow hanging scroll painting.
This particular art piece, unlike the previous art pieces, has a much more centered focal point, which is a woman in her kimono shielding herself from a snowstorm with a parasol. This painting has vibrant warm colors upon the kimonos, such as reds and pinks, as well as yellow along her arm drapes. These colors helped her to stand out against the earthy background and the snow that is beating upon her. This painting has very fluid movement; it's almost like you can see the wind pushing this lady forward and her fighting against it. The very light line work of the kimono helps to show this motion.
This particular art piece doesn't elicit an extremely strong emotional response from me, but after looking at it for a moment, I feel sympathy for this poor lady who is caught out in the cold. Her face and her feet are clearly exposed, and she seems to be bundled up in more than one kimono. Personally, I don't think I would hang this painting in my house; I feel like the colors would clash too much with whatever room they're in, and it doesn't seem like it would fit there, as you would with most aesthetic choices of rooms. I think it fits better in a natural art museum and would specifically fit best in a Japanese art museum.
Citations:
Hokusai, Katsushika. Under the Wave off Kanagawa (Kanagawa oki nami ura). Circa 1830–32, Edo period. The Metropolitan Museum of Art, www.metmuseum.org/art/collection/search/45434.
Department of Asian Art. “Art of the Edo Period (1615–1868).” Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, October 2003, www.metmuseum.org/essays/art-of-the-edo-period-1615-1868.
Miras, Nicole. “Art and Culture in Edo Japan.” The Crossroads Gazette, 4 Sept. 2024, www.crossroadsgazette.com/p/art-and-culture-in-edo-japan.
“Journey Through Ancient Edo with Brady Art Gallery’s New Exhibition.” GW Today, 26 Sept. 2016, https://gwtoday.gwu.edu/journey-through-ancient-edo-brady-art-gallerys-new-exhibition.
Shaopeng. “Discover Edo Art Through ‘Edo Painting A to Z.’” shaopeng.blog, 14 Jan. 2024, https://shaopeng.blog/wanders/discover-edo-art-through-edo-painting-a-to-z.
“The Fifty-three Stations of the Tōkaidō.” Wikipedia: The Free Encyclopedia, Wikimedia Foundation, https://en.wikipedia.org/wiki/The_Fifty-three_Stations_of_the_T%C5%8Dkaid%C5%8D. Accessed 24 Apr. 2025.
Hello Cassidy!
ReplyDeleteWhen I read your blog about Japanese art from the Edo period, I thought it was especially enjoyable because my blog focuses on the same subject. It was enjoyable to notice how we studied the same nation's art yet paid attention to separate elements. Your description of the movement and emotion in Under the Wave off Kanagawa made me see it differently when you described the wave as if it were "clawing" at the boats.
Your analysis successfully linked each artwork to the overarching theme of artistic excellence during Japan's golden age. Your presentation highlighted both the beauty of nature and people alongside that era's journey and daily life experiences. The time period came to life through your descriptions.
An additional reference to the role of Japan's Edo period isolation in developing these distinctive artistic styles would enhance the presentation. The extensive influence of their art remains astonishing, considering their limited interactions with external cultures. I enjoyed your post because it increased my appreciation for the same country and period I covered in my writing.
I adored your blog! What stood out to me was the subtle, elegant beauty in each piece—especially how ordinary moments were made elegant. Your subject of "aesthetics" was clearly defined and supported, especially through your focus on composition and fashion. I wasn't aware of how much subtle emotional expression was being highlighted during the Edo period, and your post truly made me see how art reflected cultural values and social roles at the time.
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