1. Running head: A DESCRIPTION OF THE ART OF JAPAN
A Description of Japanese Art Focusing on Printmaking and Textile Work
David WPrice
Marshall University
Author Note
David “Wesley” Price. Freshman art appreciation 2012. Marshall University.
Attendance at the aforementioned university was paid for in part by the Promise scholarship of
West Virginia.
Correspondence concerning this piece should be addressed to David Wesley Price at
Price239@marshall.edu.
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2. A DESCRIPTION OF JAPANESE ART
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Abstract
This paper explores a small selection of the artistic traditions of Japan. It focuses on printmaking
from some of its earliest appearances, and modern textile work. Much attention is paid to the
great artists who contribute to these art forms.
The first is the early printmaker Suzuki
Harunobu. As with every artist discussed, one of Harunobu’s pieces is presented to represent the
best of an entire field of artistic creation. The second printmaker is Ogata Gekko. His work is
presented to show the changing sensibilities in Japanese prints over time. Finally, a textile
worker named Sonoko Sasaki is introduced to illustrate the reverence for traditional art held by
the people of modern-day Japan. The paper’s main goal is to give the reader a sense of the style,
social value, and historical importance of art in Japan.
Keywords: Suzuki Harunobu, Ogata Gekko, Sonoko Sasaki

3. A DESCRIPTION OF JAPANESE ART
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A Description of Japanese Art Focusing on Printmaking and Textile Work
The artistic traditions of Japan have been formed by the tremendous influences of nature,
and tradition, as well as external pressure. This island nation has produced works of unparalleled
restraint and expertise. Within Japan, the mixture of religious philosophy and social tradition left
a deep mark on art and those who produced it. Perhaps the most famous Japanese art form is
printmaking. Suzuki Harunobu (c. 1725-1770) was amongst the first Japanese artists to produce
full color woodblock prints. Fashionable Seven Komachi Transformed(1766, ink on paper,
Philadelphia Museum of Arts) is one such print. Harunobu was succeeded by Ogata Gekko
(1859-1920) who surpassed Katsushika Hokusai’s Thirty-Six Views of Mount Fuji by sixty-four
views in his 100 Views of Mount Fuji.From Temple Balcony(Ca. 1904, ink on paper, sold to a
private collector in 2007)is a view which holds particular charm.
Literature Review
Suzuki Harunobu is remembered for exquisite depictions of traditional print subjects.
Women of the demimonde held a special fascination for printmakers, and Harunobu became an
expert at their depiction. Fashionable Seven Komachi Transformed, however, relates a scene
from a play which celebrates the subtlety of Japanese poetry. Although the viewer is unaware of
the play’s plot, Harunobu’s expressive style reveals a moment with visual eloquence. “The close
parallelism of the figures’ heads and shoulders is a compositional device used to suggest
intimacy that is encountered in various designs by Harunobu”(Suzuki Harunobu, 2013). This
delicate expression is a common quality in Japanese art.
Discussion
Another great printmaker, Ogata Gekko was born into a wealthy family which lost
everything when he was sixteen. To survive they opened a lantern shop, and to make extra

4. A DESCRIPTION OF JAPANESE ART
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money the young Gekko sold drawings. His natural ability was quickly noticed and he began to
train in printmaking. His rise to success was highly unusual in the rigidly divided class system
of nineteenth century japan. “He not only broke societal rules, he broke all the rules of print
making and created a style so unique and inimitable, wood block carvers and printers today
wonder at the challenges he created for their professions”(OGATA GEKKO, 2013).From
Temple Balcony is especially interesting.
Limitations of These Studies
In this clever composition, the great mountain, symbolic of Japan, is an understated form
behind a more eye catching scene. A small crowd is looking out from a balcony, drawing one’s
attention to Mount Fugi, giving the image a sense of detached beauty.
Technological limitations. The varying ages of the figures suggest a family group,
which correlates with Japanese respect for filial piety. The juxtaposition of the underemphasized
mountain and the overstated family is an example of an unprescedented characteristic in Gekko’s
work.
Demographic limitations. Japanese artistic tradition is not limited to printmaking.
Chapter 3.3 of Gateways to Art: Understanding the Visual Arts discusses the work of Sonoko
Sasaki with Japanese textiles.
Modality limitations. This artist was designated a national living treasure by the
Japanese government for her dedication to an important cultural art (Gateways to Art:
Understanding Visual Art, 2012).As did prints, this art form reflects uniquely Japanese
sensibilities.

5. A DESCRIPTION OF JAPANESE ART
Conclusions and Future Study
Japan’s rich artistic history reflects the ideas and ideals which drove the nation. Life in
Japan was vigorously recorded by printmakers through centuries of the country’s development.
These pieces serve as memorials to their expert creators and, possibly more importantly, to the
culture which enabled their creation.
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6. A DESCRIPTION OF JAPANESE ART
References
Gateways to Art: Understanding Visual Art. (2012). In D. J. Dewitte. New York: Thames &
Hudson.
OGATA GEKKO. (2013, Mar 30). Retrieved from ogatagekko.net.
Suzuki Harunobu. (2013, Mar 30). Retrieved from viewingjapaneseprints.net.
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7. A DESCRIPTION OF JAPANESE ART
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Appendix A
Ogata Gekko
The artistic traditions of Japan have been formed by the tremendous influences of nature, and
tradition, as well as external pressure. This island nation has produced works of unparalleled
restraint and expertise. Within Japan, the mixture of religious philosophy and social tradition left
a deep mark on art and those who produced it. Perhaps the most famous Japanese art form is
printmaking.
Suzuki Harunobu (c. 1725-1770) was amongst the first Japanese artists to produce full
color woodblock prints. Fashionable Seven Komachi Transformed (1766, ink on paper,
Philadelphia Museum of Arts) is one such print. Harunobu was succeeded by Ogata Gekko
(1859-1920) who surpassed Katsushika Hokusai’s Thirty-Six Views of Mount Fuji by sixty-four
views in his 100 Views of Mount Fuji.From Temple Balcony(Ca. 1904, ink on paper, sold to a
private collector in 2007)is a view which holds particular charm.
Table A1
Lists of Letters and Numbers
Letters
A
B
C
D
E
F
Numbers
1
2
3
4
5
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8. A DESCRIPTION OF JAPANESE ART
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Appendix B
Pie Chart that is Colorful
1st Qtr
2nd Qtr
3rd Qtr
4th Qtr