Japan Art and Maples (Edo to Taisho)

Lee Jay Walker

Modern Tokyo Times

Kono Bairei (1844-1895) belongs to the Edo and Meiji periods of Japanese history. Yet, despite witnessing enormous political, social, and cultural changes, his delightful art reflects a world of enduring beauty, where nature, tradition, and artistic refinement transcend the upheavals of the age. His paintings and prints capture something deeply connected to the Japanese aesthetic sensibility: an appreciation of seasonal transformation, quiet contemplation, and the delicate relationship between humanity and nature.

Among his artistic pupils were Tsuji Kakō, Kawai Gyokudō, Kikuchi Hōbun, Takeuchi Seihō, and Uemura Shoen. Notably, the beautiful art of Seihō reveals the considerable influence of Bairei on this distinguished artist. Through his teaching and artistic legacy, Bairei helped nurture a generation that would contribute enormously to the development of modern Japanese painting.

The British Museum says, “Bairei studied the Maruyama style with Nakajima Raisho (1796-1871) and subsequently, with Raisho’s permission, the Shijo style with Shikawa Bunrin (1808-77). He was instrumental in the founding of the Kyoto Prefecture Painting School (Kyoto-fu Ga-gakko) in 1880… In addition to his various appointments in public art schools, Bairei taught in his private studio many of the leading painters of the fledgling Kyoto Nihonga school.”

The delightful print above by Tsukioka Kōgyo (1869-1927) depicts a young lady enjoying a peaceful moment beneath a magnificent red maple tree. The simplicity of the composition is part of its charm. There is no need for dramatic movement or elaborate surroundings, for the graceful figure and the changing colours of nature create an atmosphere of quiet contentment. The red maple, with its associations with autumn and the passing seasons, provides a particularly evocative backdrop.

Kōgyo, who studied under Tsukioka Yoshitoshi and Ogata Gekkō, captures the serene presence of the young lady alongside the soothing beauty of the maple tree. The print evokes a Japan of bygone days, while retaining a cultural resonance that continues in modern Japan. Indeed, autumn foliage remains an important part of Japanese seasonal appreciation, with the changing maple leaves inspiring countless journeys, artistic expressions, and moments of contemplation. This connection between nature and human experience is central to traditional Japanese aesthetics.

Interestingly, unlike many artists of the Meiji Period who increasingly embraced Western influences and changing artistic approaches, Kōgyo devoted considerable attention to traditional theatre, particularly Noh, alongside other subjects connected with Japan’s cultural heritage. His artistic interests therefore provide another reminder that modernisation did not simply erase the past. Traditional forms continued to flourish, evolve, and inspire new generations.

Miyagawa Shuntei (1873-1914) studied under Watanabe Shōka and Tomioka Eisen. He was born in Aichi Prefecture and became associated with prints depicting women, children, and everyday life.

The British Museum describes him as “Known for prints of women, children and genre subjects, as well as illustrations for newspapers and magazines.”

Together, these artists reflect different dimensions of Japan’s artistic heritage, while the recurring image of the red maple offers a beautiful cultural connection. Beyond its striking colours, the maple represents the changing seasons and the fleeting nature of beauty. In Japanese artistic sensibility, such moments are often treasured precisely because they do not last forever.

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