Lot 334: Maruyama Okyo (1733-1795) Maruyama School, dated Tenmei 7 (1787)

Maruyama School, dated Tenmei 7 (1787)
Kakejiku, in ink on paper, depicting a dragon appearing out of the ocean, emerging from the waves enveloped in clouds and mist, ascending towards heaven, in the far right corner, two bare trees on a rocky precipice sway in the violent storm, signed Tenmei hinoto-hitsuji chushu sha, Okyo (painted by Okyo in mid Autumn in the year of the sheep [1787]) with two seals Okyo and Chusen; with wood storage box. 41cm x 60cm (16 1/8in x 23 5/8in). (2).

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Published and illustrated in the Exhibition Catalogue, Landscape Paintings in the Edo Period, 250 Years, Fuchu Art Museum, 2009, p.42.

In this painting presented here, the artist makes the most of the sumi brush. To represent humidity and the speed of the tornado, he uses the hatsuboku technique: splashes of ink, without leaving clear contours or outlines, involving an abstract simplification of forms and freedom of brushwork whilst the raging waves are delineated with sharper lines. During the Edo Period, it was believed that the tornado was caused by a dragon, and that a dragon really existed.

Born to a poor farming family in Tanba province, Kyoto prefecture, Okyo brought about a revolution in Japanese painting. During his formative years he studied the Kano and Tosa inspired techniques under Ishida Yutei (1772-1786). Okyo was also influenced by Western realism. He ultimately combined all three styles and established his own style, previously unseen in the country.

Founder of the Maruyama school, Okyo can effectively be called the father of the shasei. This technique was based on the direct observation of life, which became the basic element in conceiving compositions, and for the first time was used to compose large-scale works such as hanging scrolls, screens and sliding doors. Though not by any means the first to draw actual nature, Maruyama Okyo was a pioneer who used his knowledge of Western perspective and visual realism to construct his paintings. That said, other painters were critical of Okyo's style. They found it to be overly concerned with physical appearances, alleging that he was too beholden to the real world and produced undignified works. Nevertheless, his style proved popular with the public, and commissions came in particularly from newly-rich merchants to do Western-style landscapes, decorative screens, and even nudes.