(1753? - 1806)
There are many reasons to be impressed with Utamaro's delicately placed ink. Contextually, the piece is intriguing due to the deviation from his typical depictions of beautiful women. Additionally, this is one of very few (according to my searches) ink drawings he has ever worked on. While his images of beautiful geisha are brought to life by vibrent blues and rich cream colors, this is simply black and white (minus the very, very minimal staining around the top of the piece). The figure shown here was revered to be the founder of Zen Buddhism in East Asia, named Bodhidharma as the Chinese knew him.
It's a meticulously assembled piece that maintains visual consistency throughout. Bodhidharma's cloak flows seamlessly into the pattern of the water. Despite a lack of vibrancy, there is a powerful use of shading, thick black lines, and untouched canvas - the whole thing looks indefinitely Japanese. Despite it being a static image, it gives the effect of motion with its curvature; there isn't a straight line in the entire piece.
This visual momentum is complimentary to the mythology of Bodhidharma (or Daruma as Japan knew him). This was produced during the Kamakura period, where the concept was Zen was fresh to the minds of the Japanese. Daruma's depiction here is in favor of the mythology surrounding him, dead giveaways including his shriveled feet and animalistic, hairy face. Oh, and his ability travel water on a reed. In this vein of Daruma's depiction, his limbs are always wilted or wrinkled (in this particular case we only have his feet). It is as if his ability to operate in a physical world is leaving him and all the focus and energy is being forced through his head, hence the bulging eyes and piercing stare.
His stern expression is typical of Darumian artwork. More interesting is where his eyes are going. The horsehair wand in his hand is a symbol of high rank in buddhist society, but why is he focused so intently on it? It is as if he is attempting to separate the concept of the thing from the thing itself, a theological staple of zen. Daruma's trip across the Yangzi after falling out of favor with the Chinese emperor. After his flight, he meditates for nine years within a cave. So, this image in in between this transformation, his crossing of a river helps supplement.
This piece could be described as being very "tightly" designed. It's themes, accompanied with historical context are as clear as the highly readable visual technique of the ink. Everything is in motion, the image itself, the literal situation and the mind of Daruma himself.
Eli good job, I really liked how you compered this print to Utamaro's usual prints. I also like how you analyzed even the smallest things in the print good job.
ReplyDeleteI like your analysis on Daruma. I feel a strong impression from the swell of the strokes. I agree that this print shows the mind of Daruma itself. Also your analysis on his gaze was interesting.
ReplyDeletehey, I really liked your analysis. I thought you did a great job balancing the physical qualities of the print, such as curved lines and such, and what the image/subject was portraying through facial expression, etc.
ReplyDelete@Briana: Thank you very much! I believe the comparison was necessary since so much of what makes this pice profound is its contrast to Utamaro's regular inspiration.
ReplyDelete@Chihiro: Thank you! He's a very interesting looking fellow. This representation of him is par for the course in terms of how other artists chose to display him. I must say, this specific representation is much more wrathful and brutal then the others. Very neat.
@Chsmith: Hooray, I'm glad you liked the curvature as well. I think the picture has such great thrust because of it!