Kogyo (1869 - 1927 )
Kogyo Tsukioka was a woodblock print artist, painter, and illustrator who brought the theatrical art of noh to life through rich, painterly colors and shimmering costumes. While he is best known for scenes of the noh stage, he also produced some war prints and nature studies. Born in Tokyo in 1869 as Hanyu (Sakamaki) Bennosuke (sometimes read Sadanosuke), Kogyo was the son of an innkeeper in the Nihonbashi district. He began his career as an artisan. At age twelve, he worked as his uncle's apprentice decorating pottery for foreign export, then attended a prefectural institute to study glass, stone, and ceramic work in 1884. Kogyo entered the workshop of renowned ukiyo-e artist Yoshitoshi Tsukioka (1839-1892) in 1885 before studying under painter and printmaker Gekko Ogata (1859-1920), from whom he received the name "Kogyo." His interest in noh theater first bloomed in his late 20s. At this time, the traditional theatrical art was actively redefining itself for the modern era. Shaking off its aristocratic associations, Noh expanded its audience, both to the greater public in Japan and internationally, through the visits of foreign dignitaries. As the audience of noh grew, Kogyo broke new ground in the depiction of noh subjects. Rather than foregrounding the actors’ personas, Kogyo creates a subtle sense of the stage and set to capture the fleeting moments of a live performance. It is thought that Kogyo's series such as A Great Mirror of Noh Pictures (Noga Taikan, c. 1925-30) and illustrations for the popular periodical Manners and Customer in Pictures (Fuzoku gaho, 1898-1916) contributed to the popularization of this traditional art form. By the time of Kogyo’s death in 1927, noh theater had secured a significant standing in popular culture.
Meiji Period Prints (1868-1912)
Meiji-period woodblock prints reflect an era of change. In 1853, the arrival of Commodore Perry’s black ships brought over 250 years of Japanese isolation to an abrupt end. The following year, as Japan engaged in international trade, Yokohama-e (Yokohama pictures) captured an influx of unfamiliar peoples, places and things entering Japan through Yokohama harbor. By 1868, the Imperial line attained control of the country under Emperor Meiji, terminating the feudal rule of the Tokugawa Shogunate and dissipating the culture of the floating world. Under the emperor, national modernization progressed rapidly. From Western-style clothes and pastimes, to exciting new inventions from overseas, Japan absorbed the massive influx of the foreign and developed a distinctly Japanese modern identity. While photography and lithography gained popularity at this time, the woodblock print continued to serve as a powerful medium. Meiji period artists made sense of a transitioning world with a familiar medium.