Tag: meiji restoration

Yashima Gakutei

Yashima Gakutei, “Carp Ascending a Waterfall”, 1892 (Edo Period), Surimono, Woodblock Print with ink and Color on Paper, 18.8 x 21.6 cm, Private Collection

Born in the Honshu city of Osaka circa 1786, Yashima Gakutei (八島岳亭) was a Japanese poet and artist known for the quality of his woodblock prints and his artistic contribution to Ukiyo-e (浮世絵)  a traditional poetic art form that flourished from the seventeenth to the nineteenth-century. Among the images depicted in ukiyo-e woodblock prints and paintings were landscapes, wrestlers and kabuki actors, dancers and courtesans, folk tales and historic scenes, and images of an erotic nature. 

Gakutei was the illegitimate son of the samurai Hirata under the Tokugawa shogunate established by Tokugawa Ieyasu (徳川 家康), one of the three Great Unifiers of Japan during the Edo period. Gakutei’s mother later married into the Yashima clan, thus granting him the name of Yashima Gakutei. He received his art training from master ukiyo-e printmakers Totya Hokkei (魚屋 北渓) and Katsushika Hokusai (葛飾 北斎) who, though best known for his woodblock print series “Thirty-Six Views of Mount Fuji, worked in multiple mediums including book illustration.

After his training, Yashima Gakutei settled at Osaka in the 1830s. He was known for his technical precision, his embossing skill, and his specialization in the traditional surimono art form, which some critics say surpassed that of his teacher Totya Hokkei. These surimono (摺物) woodblock prints were deluxe editions privately commissioned by poetry societies and wealthy patrons of the arts for special occasions, poetry competitions, and the celebration of the New Year. Gakutei employed lavish printing techniques on the finest homemade papers with generous use of gold, silver, bronze, and mica highlights, as well as embossing and lacquer-like effects. 

During his career, Gakutei also created images of landscapes and seascapes for books, a rarity among those artists who had studied under Hokusai. He received a commission to provide all the illustrations for the “Kyōka Suikoden (狂歌水滸伝)”, a volume of traditional Japanese poetry. Among Gakutei’s other works are a series of five surimono woodblock prints that featured young female musicians performing gagaku (雅楽), the traditional imperial court music from the Heian period (794 to 1185); a series of embossed woodblock prints depicting all the gods of fortune as beautiful women, or bijin (美人); and a privately issued and embossed surimono tetraptych entitled “The Ascent to Heaven”, a four-panel scene depicting the well known Japanese fairy story “The Tale of the Bamboo Cutter”. 

As a poet, Yashima Gakutei wrote and illustrated many humorous poems in the kyōka (狂歌) style, a genre of Japanese tanka poetry that was prevalent in the Edo region, now the area of modern Tokyo. Formed within the tanka meter of 5-7-5-7-7 syllables per line, these short poems placed mundane or vulgar humor within elegant, poetic settings. Wordplay and puns were often used; a classic styled poem would often be given a vulgar twist at the end. 

As a translator, Gakutei is known for his translation of the sixteenth-century Chinese novel “Journey to the West (西遊記)”, one of the Classic Chinese Novels that is attributed to Ming dynasty poet and novelist Wu Cheng’en (吳承恩). This account of the legendary pilgrimage of Tang dynasty Buddhist monk Xuanzang was illustrated with woodblock prints created by Gakutei. 

Yashima Gakutei died in 1868, the same year as the Meiji Restoration that replaced the Tokugawa shogunate military government with a reinstallation of Emperor Meiji under a constitutional monarchy, thus ending Japan’s Edo period.

Notes: Many of the details of Yashima Gakutei’s life are shrouded in mystery. The Art Institute of Chicago indicates that he was known by several names including Yashima Harunobu, Horikawa Tarô,  and Gakutei Kyûzan, among others. The Ronin Gallery, the largest collection of Japanese prints in the United States, lists his birthplace as Edo under the name of Harunobu Sugawara. For my article, I am relying on information from the Bates College Museum of Art in Lewiston, Maine, which lists his birthplace as Osaka. 

Top Insert Image: Yashima Gakutei, “Hotei”, circa 1927, “Allusions to the Seven Lucky Gods”, Woodblock Print with Karazuri Printing and Metallic Pigment, 21 x 18.4 cm, Ronin Gallery

Second Insert Image: Yashima Gakutei, “Muneyuki Shoots a Tiger”, circa 1829, Woodblock Print Surimono, 21 x 18.4 cm, Private Collection

Bottom Insert Image: Yashima Gakutei, “Furuichi Dance”, circa 1822, Woodblock Print with Ink and Color, Embossing and Metallic Pigments, 21 x 19 cm, Private Collection

Calendar: December 22

Year: Day to Day Men: December 22

Filtered Light

On the 22nd of December in 1885, Itō Hirobumi, a samurai, became the first Prime Minister of Japan during the Meiji era. The Meiji era, which extended from October of 1868 to July of 1912, was the first half of the Empire of Japan. It was a period of movement from an isolated feudal society at risk of colonization to a modern, industrialized nation state influenced by Western scientific, technological, political, legal and aesthetic ideas. 

Itō Hirobumi was the son of a modest samurai family in the Chōshū domain of western Japan. He grew up at a time of convulsive political conditions during the decline of the Tokugawa shogunate which had governed Japan since 1603. Itō was sent to England in 1863 by the leaders of Chōshū to study naval science. He played a minor role in the events leading to the 1868 Meiji Restoration, a movement which overthrew the shogunate and reestablished the formal authority of the Emperor. 

Itō’s role in the Meiji Restoration brought him into contact with Kido Takayoshi who became one of the great leaders of early Meiji Japan and an important mentor to Itō. His connections with Kido and Ōkubo Toshimichi, one of the leaders of the Restoration, enabled him to perform government assignments to the United States and the Iwakura Mission to Europe as well as study matters such as taxation, treaty revision, and budgetary systems. 

When Ōkubo was assassinated in 1878, Itō Hirobumi succeeded him as Minister of Home Affairs. This advancement brought him into conflict with the ambitious statesman Ōkuma Shigenobu. Itō forced Ōkuma out of the government in 1881 and persuaded the government to adopt a constitution. The Emperor proclaimed the constitution in 1889 and, in the next year, the National Diet was established. The National Diet is the legislature of Japan consisting of the House of Representatives and the House of Councillors, both elected and responsible for nominating the Prime Minister.

At this time, Itō was the most important person in the Meiji government. Serious about establishing a constitutional government, he and other officials had spent one and a half years in Europe studying under constitutional scholars. This writing of basic rights and the establishment of the Diet was a very progressive act given Japan’s samurai background and its tense domestic and foreign problems.

Itō Hirobumi remained a prominent figure in the 1890s and achieved two important successes. The first was an agreement with Great Britain that did away with extraterritoriality thus subjecting British nationals in Japan to Japanese law. The second was Japan’s 1895 victory over China in the First Sino-Japanese War, primarily a conflict over influence in Korea. The war demonstrated the failure of China’s Qing dynasty’s attempts to modernize its military and shifted the regional dominance from China to Japan.

In 1905, following the Russo-Japanese War, Itō was sent to Korea to negotiate a treaty that turned Korea into a Japanese protectorate. He returned to Korea as resident general in 1906 and pursued a gradual policy of economic and bureaucratic reform. Itō sought to suppress Korean nationalism and even engineered King Kojong’s abdication; however, he could not prevent the move favored by Japanese leaders to annex Korean. In October of 1909, Itō Hirobumi was assassinated in the city of Harbin, North China, by An Chung-gŭn, a member of the Korean Independence movement.

Itō Hirobumi was the one Japanese leader who advocated a moderate and sympathetic approach to Japan’s Korean policy; his assassination ultimately became a factor to Japan’s annexation of Korea in 1910.