#01 Notes on the appropriation of Japanese art
(or: what Vincent van Gogh and graphic design have in common)
Hello and welcome to the first post from Arboretum of Notes!
This newsletter will focus on the links between art history, activism and cultural criticism. But the best way to introduce us is by just starting, so please read on…
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Vincent van Gogh’s work has often been heralded as a love letter to the world around him, a goal shared with Japanese Ukiyo-e prints. Due to this common goal, he a great appreciation for them, integrating their masters’ techniques into his work and sometimes literally painting them into the background. However, in pieces such as ‘Self-Portrait dedicated to Paul Gauguin’, appreciation borders on appropriation: the upturn of his eyes at the end and how, in a letter to his brother Theo, he said how he wished to present himself as a “simple worshipper of the eternal Buddha.” Here, it can be seen that he is attempting to assume another identity to do so.
Why did he try to honor his inspiration in this way? And what exactly is wrong with this? Tracing, not only appropriation of the past, but also of the current artistic culture we can understand his actions and their repercussions.
Interaction between the West and Japan has existed for centuries, but this interaction halted during the Edo period, a time in Japanese history characterized by its strict isolation laws- or so it seems. This self-imposed isolation was only moderate, but depicted as extreme by Western interpretation, in order to heighten the mysterious nature of Japan, in turn increasing profits for Western traders as their consumers bought into this narrative.
One commodity highly prized by the West was Ukiyo-e prints. The printing technique used for these actually originated in China, but was integrated into Japanese Buddhist practices in the Heian period (794- 1185 AD) following the formal relations developed between the two countries.
Between the Heian and Edo period, there was much growth of this printing technique- they became increasingly complex, included colour and their distinctive blue outlines. By the Edo period, they had also changed in purpose. Instead of serving one just religious, they were now depictions of everyday life in the new ‘floating world,’ a mixture of consumerism and entertainment against the backdrop of the Buddhist philosophy that you’re life is fleeting, so live it up will you still can. They were called Ukiyo-e prints, referring to the artistic culture that flourished in the Edo period. Mass-produced in a production line of artisans, they were cheap as a double-helping of noodles.
This period of relative isolation ended with the arrival of the American navy, who threatened an attack if they didn’t open its borders for trade. This led to the ‘modernization’ of Japan. In order to compete in international trade, they adopted the Western ideas of the new world. In turn, the West was fed a romanticized view of East, narrow in its approach, personifying an entire a country as mysterious and antiqued- this had a huge impact on the Japonisme movement. It’s here that Ukiyo-e prints return, but this time as a sought after commodity, rather than a cheap, mass-produced item- they acted as the only glimpse the Western artist had into a culture so vastly distinct.
Whilst there was a clearly shown appreciation for the Japanese culture in this movement, there was also a heavy reliance on stereotypes led by a shallow understanding of a culture that is as multi-faceted and varied as any other. One artist who was heavily influenced by the Japonisme movement and by Ukiyo-e prints, was Vincent van Gogh.
Whilst his appreciation for Japanese art and philosophy is clear in his letters to his brother and the assimilation of Ukiyo-e prints into his own work, his presentation of such a varied culture is questionable. Both ‘Portrait dedicated to Paul Gauguin’ and ‘Flowering Plum Orchard: After Hiroshige’ depict how superficial his understanding was. In that latter, Japanese characters provide a decorative border for the piece, but these characters are nonsensical, without meaning together. Whilst in the former he assumes a Japanese identity. Here, his appreciation borders on, what we would call today, appropriation.
So, not only is Van Gogh an example of appreciation in the Japonisme movement, but also of appropriation: he stuck Ukiyo-e prints around his studio and closely studied the masters’ use of colour, yet how the appreciation manifests in his work is sometimes questionable.
However, it must be noted, that at the time these sorts of actions would not have been criticized by contemporary viewers, but thought the modern eye, with our understanding of appropriation, we are more critical or his actions.
However, actions like these are still seen today.
The Japonisme movement proved to be highly influential, becoming an integral part of both 20th century art and 21st century graphic design, informing the appropriation that can be seen there. Ray Masaki, in his articles for ‘It’s Nice That’, pointed out the common use of Japanese characters that are employed to make a design “more visually exotic.” These characters tend to be direct translations or, simply, made up. The overall effect is one that is incoherent. So why do designers and artists still include them? Especially if they are prolonging harmful depictions of Japanese art, continuing the mysterious stereotype that arose from the ‘isolation’ of Japan during the Edo period?
The reason: lack of knowledge on this subject.
The solution: learning.
In order to combat the appropriation of Japanese art, people should seek to learn more- it's by educating themselves on a country’s history, cultures and languages that enable us to recognize appropriation, drawing the boundaries between it and appreciation. Learning allows us to question the purposes of Japanese elements added to a design- is it simply the artist showing their appreciation of Japanese art? Or are they unaware they are perpetuating stereotypes?
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If you’re interested in finding more or looking for the sources I used for this essay, check out the sources linked below
‘Broken Japanese: Understanding privilege and cultural appropriation as a creative’ by Ray Masaki for It’s Nice That: https://www.itsnicethat.com/features/broken-japanese-opinion-part-one-creative-industry-100222
‘Broken Japanese: Exploring exoticization and stereotyping in graphic design’ by Ray Masaki for It’s Nice That:
https://www.itsnicethat.com/features/broken-japanese-opinion-part-two-creative-industry-170222
‘Broken Japanese: Why even a “respectful” homage to a country’s culture can be problematic’ by Ray Masaki for It’s Nice That:
https://www.itsnicethat.com/features/broken-japanese-opinion-part-three-creative-industry-240222
The Lonely Palette’s ‘Episode 42: Katsushika Hokusai's The Great Wave off Kanagawa (c. 1829–1831)’: http://www.thelonelypalette.com/episodes/2020/2/5/episode-42-katsushika-hokusais-the-great-wave-off-kanagawa-18301831
Amir Aboour-Jaoude’s ‘A Pure Invention: Japan, Impressionism, And the West, 1863- 1906’
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Now for the time of recommendations- this will be a regular occurrence in the posts
Current read: Gender Troubles by Judith Butler
Random media recommendation: pampelmousse by FKA twigs
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And that’s it for today! If you have anything to add, like you’re own research or personal experience relating to the post, or even some appreciation or criticism, please leave a comment.
Have a good day!
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