Calligraphy Box with Design of Autumn Flowers and Grasses under the Sun and the Moon - Essay Example

due: Calligraphy Box with Design of Autumn Flowers and Grasses under the Sun and the Moon by Igarashi Doho from 17th century Japan Japanese art and calligraphy are rich in history with the earliest artwork being associated with the Jomon art (Brinkley 25). The art has developed from the use of string to make markings on the outer surfaces of clay, to the use of lacquer. Artists such as Igarashi Doho are famous for the incorporation of past and modern technologies in developing their art. The calligraphy box designed with autumn flowers and grasses under the sun and the moon by Igarashi Doho that is sourced from the 17th century represents one of many miniature art forms where lacquer was used in Japan’s classical painting. Such artwork was unique to the dominant class of the Japanese society, although there was a difference in popularity of different art types. Art from the Edo era, as the writing box by Igarashi, comprised of several themes and styles of art, which resulted in the era being categorized as the revival era of Japanese art. Doho’s calligraphy box, as a piece of art, captures three traits of the Japanese society in the periods leading to the 17th century; religion, wealth and power, and education. Figure 1: Igarashi Dohos calligraphy box The calligraphy box is popular for a number of reasons. Considering the age in which the box was crafted, the level of detail and its intricacy is indicative of developed art in the Japanese culture. The detailing on the wood and incorporation of gold and metal facilitates the development of a unique art form that appears modern as well as complex. There is awe in the artisanship employed in the decorations on the box, which suggest considerable time spent on the development of the artifact. The art could only be achievable in the presence of history and a structured discipline in where artistic skill used in the art was taught. Furthermore, the degree of preservation, considering the age of the art, is one of a civilization that incorporated science into its daily norms. Religion has a huge impact in the calligraphy box, as well as the techniques used in the artisanship. The Early Heian art, which was introduced by Buddhist priest Kukai, influenced the development of Japanese art. One of the attributes that was derived from the religion was the use of gold in art. The calligraphy box appears as having a golden cover to the wood, which is characteristic of the Heian period (Brinkley 26). The E-maki (last Heian) period further imposes the impact of religion on art, as the development of picture scrolls was introduced, with emphasis on the liveliness of the colors used as well as the narration incorporated in the art. Following the themes developed in the Heian period, the Doho box captures Japanese society’s past, schools of thought, and the impact of religion, such that the decorations on the box tells of an autumn story. However, the derivation of such intent and capture of nature can be rivaled by considering other regions in which Buddhism did not reach, but artists still captured nature in their work (Brinkley 18). The calligraphy box, from its appearance, is easily associated to wealth in the era from which it originated. Masterpieces of art such as the box are associated with wealthy owners. This is a popular hypothesis in art, since the wealthy were able to commission talented artists such as Doho to complete various works of art, for personal or aesthetic purpose. The profile of the artist contributes to the hypothesis of the box being commissioned by a high-class individual. Igarashi Doho was a popular lacquerer, the fifth descent to Igarashi Shinsai, who was the son of Igarashi Hosai (Jahss & Jahss 506). Having moved to Kyoto in the early 17th century and being enlisted into the services of Lord Maeda of the Kaga Province, his Kaga maki-e (Jahss & Jahss 506) (lacquered with gold and mother-of-pearl) was specific to that particular class of clients. Characteristic to the specimen, Igarashi’s artwork was characterized by a neat and clear style. Considering that Gold and Pearl were some of the materials used in creating the box, it is easy to decipher that the designated target was a wealthy client. This approach can be argued as the common artistic approach to the kaga maki-e style, and that the availability and use of gold in lacquer art was not associated with any significant wealth. The art has no direct affiliation to a client, but it is evident that it was made in a period where the use of lacquered gold was an artistic characteristic, hence the era of prosperity in Japan (Lillehoj 25). History of the artist also suggests the existence of a structured system in which the skills were taught. History of the Igarashi family indicates of a skill that was inherited from one generation to the next. Considering that Igarashi Hosai was a lacquerer, and so were Doho I and II. Doho II / Kisaburo (a member of the Koami family adopted by the Igarashi family) (Jahss & Jahss 506), indicates of a trade that was passed down from father to son. In addition, the development of lacquering in art has predecessors and a growth of the style. The Lacquering tradition of the Igarashi has its popularity sourced from the fifteenth century following the work of Yoshimasa (Brinkley 309), and the construction of tea-boxes by Hidetsugu of Nara (Brinkley 345). Art developed to the constructing on the calligraphy box in a direct lineage. Considering the positions held by the Igarashi’s in serving the Maeda King (Jahss & Jahss 506), the art was a prosperous career, which indicated training and structure. In conclusion, the calligraphy box is indicative of a complex civilization where detail to art was appreciated. Considering the era in which the art is dated, a hint of global art civilization is derived, since it was the peak of the Baroque period. Traits of the art, as well as the artisanship, are indicative of a highly treasured piece of art that suggests a high degree of investment towards the detailing of the art. The choice of the art surface is also unique to the Japanese culture, which suggest an expression of society and Japan’s past. Works Cited Brinkley, F. Captain. Japan Its History, Arts, And Literature. Norwood, Massachusetts, USA: The Plimpton Press, 1902. Print. Jahss, Melvin H, and Betty Jahss. Inro and Other Miniature Forms of Japanese Lacquer Art. Rutland, Vt: C.E. Tuttle Co, 1971. Print. Lillehoj, Elizabeth. Critical Perspectives on Classicism in Japanese Painting: 1600-1700. Honolulu: University of Hawaii Press, 2004. Print. Read More