Week 2 - Maki Fukuoka - Lecture 2 - Portraiture and Early Studio Photography in China and Japan

The Fluidity of Representation

Early Photographs, Asakusa, and Kabuki

Introduction

  • Publication Context: A critical publication from 1878 titled Consolidated Listing of Calligraphic and Pictorial Producers (Zenkoku shoga syÅ«ran) ponders the relationship between photography and the visual arts during the early years of the Meiji period (1868-1912).

    • Banzuke Ranking System: Adopts the Tokugawa-period banzuke system to categorize calligraphic and pictorial producers, indicating a hierarchical approach in the evaluation of arts.

    • Front Section: Focuses predominantly on calligraphy.

    • Back Section: Discusses pictorial representations and introduces categories like great expert (taika) and notable expert (meika).

The Pictorial World

  • Categories in Pictorial Rankings:

    • Key categories include:

    • Kinugale Jinbutsu: Paintings of people on silk

    • Shinga: Paintings of truthfulness

    • Sekiga Makie: Paintings on stone

    • Yōga: Western paintings

    • Aburae Yōga: Oil painting/Western paintings

    • Tōga: Pictures on ceramics

    • Shoga Senmen: Calligraphy and pictures on fans

    • Bonsai: Unclassifiable under conventional pictorial categories.

    • Omission: Note that photography is conspicuously absent as a defined pictorial category.

    • Categories' Logic: Queries arise regarding distinctions between types of painting genres and their hierarchical importance.

Implications of Categorization

  • Incongruities Highlighted: Categories show a mixture of recognized and obscure artists, creating an unsettling inconsistency.

  • Example: Shimizu Tōkoku, listed among the great experts of photography three years prior, is categorized alongside painters despite his primary recognition in photography.

  • Cultural Fluidity: The fluidity in the interpretation and categorization of art forms illustrates a transitional phase in Japanese visual culture.

Historical Context of Photography in Japan

Asakusa as a Cultural Microcosm

  • Asakusa's Role: Represents a hub where governmental regulation and consumer demand intersected, fostering a thriving photographic business environment.

    • Entertainment Culture: Known for its rich popular entertainment rooted in Tokugawa traditions, especially around the Sensōji temple.

    • Colorful Offerings: Description from 1886 illustrates the area as devoid of typical commodities, focusing instead on unique entertainment experiences.

  • Popularity of Photography:

    • Kawai Keiichi's 1887 observations indicate a significant number of photographic studios in Asakusa, indicating cultural integration and public fascination.

    • Studio Environment: Studios exhibit homeliness with vibrant flowers, competing for aesthetic appeal, indicating commercial success and artistic adaptation.

Societal Changes and Historical Forces

  • Brothel and Theater Districts: Proximity to Shin Yoshiwara and Saruwaka-machi highlights the complex interplay of entertainment culture and governmental scrutiny.

    • Misemono: Temporary spectacles hosted at Sensōji attract crowd participation but face scrutiny from Meiji officials promoting modernization.

  • Regulatory Efforts: Officials aimed to dissociate Japan from elements deemed unfit for a civilized society, highlighting a struggle between cultural tradition and modern ideologies.

    • Bans placed on public nudity and unconventional performances showcase governmental attempts to redefine societal norms post-Restoration.

Dissonant Seeing in Photography

Conceptual Analysis of Dissonance

  • Dissonance in Representation: Seeks to understand how various art forms interact, revealing gaps between representation and reality, embracing complexities inherent in visual culture.

    • Visual Logic: Introduces the term "dissonant seeing" to describe the experiences provoked by the clash of images and interpretations within the socio-political landscape of Meiji Japan.

Case Study: Sawamura Tanosuke III’s Portrait

  • Photographer Uchida Kuichi: A pivotal figure in recorded kabuki culture, blending photography and woodblock art conventions to capture Tanosuke III's likeness outside typical performance contexts.

  • Significance of Tanosuke III: As a leading kabuki actor, known for his feminine roles and vibrant on-stage presence, his last performance serves a poignant narrative reflecting both his artistry and personal frailties.

  • Physical Representation: In the photographic portrait, Tanosuke III presents a stark contrast to typical actor depictions; he gazes directly at the viewer, evoking emotional engagement while being aware of his deteriorating health.

Theatrical and Psychological Themes

  • Emotional Resonance of Performance: The play A Likeness of Appearances (Kokusenya sugatano utsushie) delves into themes of identity and obligation while underscoring the tensions between personal desires and societal expectations.

    • Kokin’s Character: Represents the intersection of the visible and invisible, with narratives foregrounding the divergence between appearances and inner experiences.

  • Use of the Mirror in Performance: Symbolizes the reflections of personal struggles against public personas, enhancing the emotional gravity surrounding Tanosuke’s farewell to acting.

Conclusion

  • Integration and Reflection: Ultimately, Tanosuke III's portrait is more than a mere image; it unveils the entangled narratives of identity, visual representation, and cultural transition during a transformative era in Japanese art. The focus on dissonance invites deeper engagement with the history of photography and its cultural significance within the broader historical narrative of Meiji Japan's visual arts landscape.

Notes

  • Historical References: Includes extensive references illustrating connections between visual practices and contemporary socio-political dynamics, reinforcing the rich tapestry of artistic evolution during this period.