About Nihonga100

Nihonga100 is an online collaboration between 4 people living in different countries across the globe with one common passion: Nihonga (日本画).

Not to be confused with Sumi-e or Suibokuga, Nihonga was a term coined during the Meiji period. During this time, Western painting was on the rise and Nihonga was defined to be what Western painting ( 洋画 yoga) was not. Nihonga uses traditional materials like Japanese paper , gold and silver leaf and natural pigments.

Nihonga paintings capture the essence of Japanese-ness. This explains why many paintings in this genre are often referred to, and depict Yamato-e (Japanese theme paintings of medieval times), native flora, Japanese scenery and personalities.

Through our online project, we hope to share our discoveries, notes, essays on Nihonga and introduce both Japanese and foreign artists painting in this tradition. It is hoped that through Nihonga100, this beautiful artform reaches a wider audience than where it all began.

Nihonga 100 :異なる国々に住む4人が日本画という共通の情熱をもとに立ち上げられたオンラインコラボレーションです。

日本画は墨絵や水墨画と 混同されがちですが、 明治期に洋画に対する「日本画」という ジャンルが確立した近世の概念です。この頃はすでに洋画は盛んになり、新たに日本画の意義が問われました。日本画では伝統素材である、和紙、金箔、銀箔、 そして岩絵具が用いられ、テーマとして日本的な本質を描いたもの、大和絵に見られるような日本の花、風景を特徴とするものが多く扱われます。

このオンライプロジェクトでは、日本画に関する記事、エッセイを通して、新たな発見を共有化を目指します。そして日本の伝統技法によって制作を続け る日本 人と海外の作家を紹介していきます。 Nihonga100があらゆる可能性へのはじまりとなり、日本画が世界への広まりとなるよう期待いたします。

Nihonga100 est une collaboration en ligne entre 4 personnes vivant dans des pays différents à travers le monde avec une passion commune :Le  Nihonga

A ne pas confondre avec Sumi-e ou Suibokuga (peinture à l’encre), le Nihonga est un terme inventé pendant la période Meiji.A l’époque ou la peinture Occidentale était de plus en plus présente, le Nihonga a été défini pour être ce que la peinture Occidentale 洋画 yoga n’était pas. Le Nihonga utilise des matériaux traditionnels comme le papier japonais, la feuille d’or et d’argent et des pigments naturels. Les peintures nihonga capturent l’essence de l’âme japonaise. Ceci explique pourquoi beaucoup de peintures dans ce genre sont souvent citées et dépeignent Yamato-e (les peintures de thème japonaises de temps médiévaux), la flore natale, le paysage japonais, les personages.

Par notre projet en ligne, nous espérons partager nos découvertes, notes, des essais sur le Nihonga et présenter des artistes tant japonais qu’étrangers peignant dans cette tradition. Nous souhaitons que par Nihonga100, cette belle forme d’art atteigne un auditoire plus large que là où tout a commencé.

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2 comments on “About Nihonga100

  1. toranosuke says:

    I’ve just found your site via your posting on shinpaideshou. Having studied with John Szostak, a specialist in Kyoto Nihonga of the Meiji-Taisho-early Showa periods, I grew to really like Nihonga. Especially artists like Sakai Hoitsu, Kamisaka Sekka, Uemura Shôen, and the like. It’s very interesting to see a Nihonga site/blog that focuses not on that period, but on very contemporary artists… What do you guys think of “neo-Nihonga” artists like Yamaguchi Akira, Tenmyôya Hisashi, and Yamamoto Tarô, who don’t necessarily use traditional media, but whose works extensively reference and draw upon famous historical works?

    I look forward to your future posts! Cheers.

    • Dear Toranosuke,
      Thank you for visiting our Nihonga 100 Blog. As one of 4 editors, I of course can only answer your question individually as it applies to my viewpoint.
      I personally believe that Nihonga can be viewed three ways: as a movement, as a technique and as a catalyst. As a movement, it was established as a means to
      solidify the art of Japan, setting it apart from the infiltration of yoga (Western painting methods) after Japan’s doors were opened. This definition would include both traditional techniques and formal subject matter inherent to Japan. As a technique alone, it is a medium that employs pigments, nikawa, gofun, etc… As a catalyst, it is a point of departure for new contemporary art, which is influenced by historic and traditional aesthetic and, or materials. For someone like me, who is American, it is easier to expand Nihonga without worrying about breaking too far from tradition. In this case it is research-based art, since it was not taught to me as a young art student or readily available. It takes much courage and creativity for Asian artists to break away from tradition to discover something new within their own culture. I feel strongly that the “neo-Nihonga” artists are borrowing Nihonga’s assets and expanding its language with ingenuity. They are positively paying homage to their heritage. Picasso borrowed imagery from African culture as influence. In this day and age, many artists label their art and art-making as an “art practice”. The internet has broadened our scope across cultures and across mediums. Hybridization of material is now natural and in some cases a necessity for communicating an idea. In order to hybridize, one first has to be informed about the source as is evident in all three artists that you mention. I salute the “neo-Nihonga” artists!

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