Japanese Illustrations: The Line, the Narrative, and the Medium

Summer 2021

For the Art of Japan Course at Arizona State University

Chapter 1: Introduction

When mentioning Japanese illustrations, there is a standard type of image that usually comes to everyone’s mind. It’s usually an image of a figure (or place) that is whimsical, fantasy-esque, caricature-like with lines outlining and defining everything from the figure itself to the movements within the drawing. The figures typically have expressive eyes, non-realistic features like hair styles, and proportional yet non-realistic bodies. Places can be anywhere and/or anytime. This style of Japanese illustrations is actually not a recent form of art. In fact, the different elements that make up current/contemporary Japanese illustrations has, over time (about 800-900 years), been developing and evolving across themes/genres and mediums, both acquiring and removing different elements that have culminated in what we now associate with Japanese illustrations.

Chapter 2: Illustrated Handscrolls - Heian Period

There is evidence that during the mid-12th century, a style of drawing seems to be the roots of today’s Japanese illustrative styles. These can be found in the popular (at that time) medium of illustrated handscrolls (emaki) in Insei Art during the latter part of the Heian period (12th century). Scrolls such as the Illustrated Scrolls of the Legends of Shigisan, the Illustrated Scrolls of the Courtier Ban Dainagon, and the Scrolls of Frolicking Animals are all examples of this early form of illustration. These three scrolls used techniques that show the characters in action (animated) and a narrative development that was well used for this medium of scrolling through the different scenes of these stories. However, it is the Scrolls of Frolicking Animals (Choju Jinbutsu Gigs; Choju Giga) where the root of contemporary Japanese illustrations stems from.

Fig. 1 – “Rabbits and Monkeys Playing in the Water” from Scrolls of Frolicking Animals, mid-12th century, Kozan-ji, Kyoto

These scrolls of human figures represented as animals (frogs, rabbits, foxes, and monkeys) “were drawn in quick brushstrokes”[1] that only enhance the caricature-like quality and animated movements of the many figures in the paintings. In this monochrome painting, the lines not only outline the figures and their features, but also the edges of the land and the movement (or waves/ripples) of the water (Fig. 1). Lines are even used to define speech or chants made by “Buddhist monks” seen in Fig. 2. The caricature-like qualities of the figures are further enhanced by the expressiveness and natural (or animated) movements of the different animal figures. These expressiveness and animated movements add to the whimsicality that is also found in later works. It is interesting to also note the many humorous moments within the Scrolls of Frolicking Animals. This can include the washing of a monkey’s back, gambling of Buddhist monks, the winning of a wrestling match by a lower-ranked species (frog wins over rabbit), and many more. This whimsicality and humor have actually been well loved by the Japanese for centuries. Illustrated handscrolls were not always monochromatic ink-and-brush, like the Scrolls of Frolicking Animals. In fact, many were actually done in color like the other two scrolls mentioned above.

Fig. 2 - Scrolls of Frolicking Animals, mid-12th century, Kozan-ji, Kyoto

Chapter 3: Shira-e - Kamakura Period

Starting sometime during the second half of the 13th century and mainly during the 14th century (during the Kamakura period), a style of illustrated handscrolls became popular. Influenced by Chinese baihua (“white images”), the Japanese created illustrated handscrolls in monochrome, black and white known as hakubyo or, more commonly, shira-e (“white pictures”) (Fig. 3).[2] These paintings were typically done in what came to be known as onna-e (“women’s pictures”). This did not mean that they were always created by women. In fact, what this really means is that the style of these paintings was feminine. However, onna-e did not only belong within the shira-e genre, but the shira-e and onna-e are both found within narrative paintings. The main difference is “The delicate beauty of line drawing” using “monochrome ink”[3] was found only in shira-e narrative paintings/handscrolls.

Fig. 3 – Illustrated Scroll of Toyo no Akari, beginning of the 14th century, Maeda Ikutokukai Foundation, Tokyo

Here the lines that define everything from the buildings and places to the figures and their billowing/moving clothing is the main focus of the painting. (At least after the narrative being told.) The lines simply accentuate the narrative without the distractions of the many colors that were seen during the Kamakura period. And the feminine style of these monochrome paintings is further seen in modern/contemporary girl-type mangas created during the later Heisei period. Though the linework, animated figures, and almost non-realistic figures continued in shira-e paintings of the Kamakura period, the scenes and figures, actually became more realistic. However, the figures and their clothing were still slightly exaggerated.

Chapter 4: Woodblock Prints - Edo to Meiji Periods

This linework continued into the Edo period with mainly woodblock prints. Prior to this, Japanese illustrations had included the medium of book illustrations, and due to the introduction of woodblock printing technology, the Edo period witnessed a boom in woodblock printed illustrations. Within woodblock prints of the earlier Edo period, the style of ukiyo-e (“pictures of the floating world”) came into fruition. The artist, Hishikawa Moronobu, is the one who coined the term, while also continuing the monochrome linework of shira-e paintings (Fig. 4). Ukiyo-e mainly focused on courtesans, actors and the pleasure district (“red light” district) and was not constricted to monochrome colors (black ink on white paper). Colored prints called tan-e, were hand-colored prints with orange-red (tan), green, and yellow pigments (Fig. 5). Later, Suzuki Harunobu, developed full-color prints for the first time called nishiki-e. Eventually, landscapes came back into the genre with the help of Katsushika Hokusai and Utagawa Hiroshige, but they had further evolved in style, and which continued to evolve in later periods.

Fig. 4 – Hishikawa Moronobu, “Entertainers Fig. 5 – Torii Kiyomasu, Courtesan with a

in a House of Assignation” from the series Bird and an Attendant Holding a Cage, 18th

Aspects of the Yoshiwara, 1681-84, Tokyo century, Tokyo National Museum

National Museum

What should be noted is that even with the new medium of woodblock prints, and the use of monochrome (shira-e), tan-e, and nishiki-e, the inherent style and elements of Japanese illustrations were still heavily seen. For instance, the use of linework found in every woodblock print was still defining the outline, features, and animated movements of figures and places. These black lines showed every movement and fold of clothing, as well as the details of the scenes and the features of the figures faces. It probably helped that for woodblock print artists and craftsman, the use of the drawing’s outlines were actually guidelines that the artist would carve into the block of wood.[4] These lines were both inevitable due to the process of creating woodblock prints and were actually well loved by both Japanese and non-Japanese (mainly westerners).

Katsushika Hokusai continued the theme/genre of whimsicality found in earlier works, especially in his Hokusai manga (his own term), which were books of compiled woodblock prints showing a wide range of illustrations. These could include scenes, narratives, studies of human figures, study of architecture, and pretty much anything. However, even though his places were more realistic, his figures continued the whimsicality found in the late Heian period Scrolls of Frolicking Animals. His figures were both proportional, yet not entirely realistic (caricature-like; Fig. 6-7). Hokusai’s figures also showed a lot movement as they were drawn in different positions. This animated whimsicality came from Hokusai’s “wit, humor, animistic vision, and approach to Western painting technique all blended in a way unique not only in Japan but also in world art history.”[5] Hokusai Manga, which is made up of about fifteen volumes, has been used by many illustrators as study material to this day.

Fig. 6 – Katsushika Hokusai, Fig. 7 – Katsushika Hokusai, “Wind and Thunder Gods” from

“Plump Men and Women” Hokusai Manga, Metropolitan Museum of Art, New York

from Hokusai Manga, 1817,

Hagi Uragami Museum,

Yamaguchi prefecture

Another Edo period woodblock print artist that immediately came after Hokusai, was Utagawa Hiroshige (Fig 8-9). Following Hokusai, Hiroshige’s linework was even more fine and revealed a more illustrative/sketch-like quality to them. Hiroshige’s linework, like many Japanese illustrations before, continued to define the outlines of figures and places, however, it appears that some of his lines almost ended, or rather flowed into the scene or figure. This is reminiscent of the quick brushstrokes found in the late Heian period Scrolls of Frolicking Animals. Unlike Hokusai, Hiroshige utilized muted colors, and his landscapes seem to have an elegance to them.

Fig. 8 – Utagawa Hiroshige, “Evening Snow at Fig. 9 – Utagawa Hiroshige, Kameido Uramon

Kanbura” from Fifty-Three Stations of the (Tama-ya), 1840, Metropolitan Museum of Art,

Tokaido, c. 1833-34, Chiba City Museum of Art New York

These whimsicality, fantasy-esque images with defining linework continued and evolved in mainly woodblock prints for the rest of the Edo period and into the Meiji period in paintings like that of Fig. 10 created by Kano Hogai. This painting brings forth more exaggerated, caricature-like figures seen from both Hokusai, and the late Heian period illustrated scrolls mentioned above, as well as the Hell Scrolls, Scroll of Hungry Ghosts, and Scroll of Afflictions that were of the same period (late Heian). This style of demons and monsters is almost comical and can be found in modern/contemporary Japanese illustrations.

Fig. 10 – Kano Hogai, Ni-o Capturing a Demon,

1886, National Museum of Modern Art, Tokyo

Chapter 5: Manga and Anime – Mid-Showa to Heisei Periods

Post-World War II saw the start of a new medium and genre called manga (“random pictures”). Initially influenced by western comic strips, Japanese mangaka (manga artists) created their own comic strips and narratives that continued the Kamakura period shira-e monochrome linework, and the caricature-like figures that started in the late Heian period and evolved during the Edo period and again during the Mid-Showa and Heisei periods. These manga strips became so popular, that they became magazines (or books of compiled narratives by different mangaka). In fact, these books/magazines were, at first, printed with the woodblock printing method, but as new technologies of lithography and other newer printing methods emerged mangas could be made quicker and easier. Mangas covered more genres, sub-genres, and even narratives than previous Japanese illustrations.

Mangas during the latter half of the 20th century became more and more popular and the demand grew so high, that it was quicker to not use colored prints and use more modern printing techniques. Because of this, mangas now have a standard that ties in with the shira-e, monochrome style. And linework came to be defined even more. Now considered visual shortcuts, mangas incorporate abstract lines that can represent a “sigh”, a figure sweating due to nervousness or anxiety, three or four curved lines (almost in a cross shape) to represent anger or frustration, and lines that designate a figure turning or moving (Fig. 11). These lines are similar to the speech or chanting lines seen in the late Heian period Scrolls of Frolicking Animals (Fig. 2).

Fig. 11 – Go Keryoku, “Bokura ga Tsugai ni Naru Made”,

most likely 21st century

These expressive or animated linework became a standard even into the 21st century. Figures found in mangas also continue a non-realistic, yet proportional quality, but now include a modern/contemporary expressiveness that has and most likely will continue to evolve. In fact, the large, expressive eyes that are now found in manga is a defining characteristic of this style of Japanese illustration and has continued in anime (a shortened name for animation in Japan and has come to be recognized globally as “animation made by the Japanese”). Anime became more popular starting in the 1980s-90s and though different in some elements from mangas, still keeps much of the same defining elements. Today, anime, still has a hand-drawn, illustrative style even if new animation technologies/styles are being produced all over the world.

Chapter 6: Contemporary Japanese Illustrations – Heisei Period to Today

During the 1990s, and continuing into the 21st century, mangas and animes have created a massive, worldwide fan base that have not only been inspired by these Japanese illustrations, but also have created works of art that have continued to evolve.These works continue the key, defining elements that have been seen in Japanese illustrations since the late Heian period.This includes the linework that defines the outline, features, and animated movements of figures and places, as well as the whimsical, caricature-like style that can be both humorous and serious.These 21st century contemporary works of art are no longer in handscrolls, but can now come in books, films, drawings on paper, and now even digitally, and as both black-and-white and color, as new technologies continue to advance in all areas of the world including illustration.Many illustrators today take inspiration from Japanese illustrations, their linework and caricature-like figures (non-realistic, yet proportional; fantasy-esque), as a foundation for many of their own works.Afterall, the line is the defining and most important thing in drawing and illustration all around the world.

Bibliography

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Department of Asian Art. 2004. Art of the Pleasure Quarters and the Ukiyo-e Style. October. Accessed June 2021. https://www.metmuseum.org/toah/hd/plea/hd_plea.htm.

—. 2003. Woodblock Prints in the Ukiyo-e Style. October. Accessed June 2021. https://www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm.

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https://www.adobe.com/creativecloud/illustration/discover/how-to-draw-manga.html. n.d. How to draw manga: Getting started for beginners. Accessed June 2021. https://www.adobe.com/creativecloud/illustration/discover/how-to-draw-manga.html.

Kitazume, Sachiko. 2009. "Do the Japanese Have a Sense of Humor?" Springer Science and Business Media, LLC (Springer).

MacWilliams, Mark Wheeler. 2015. "Manga in Japanese History: Kinko Ito." In Japanese Visual Culture: Explorations in the World of Manga and Anime, by Mark Wheeler MacWilliams, 26-47. London: Routledge.

Nobuo, Tsuji. 2018. History of Art in Japan. New York: Columbia University Press.

Richmann-Abdou, Kelly. 2019. The Unique History and Exquisite Aesthetics of Japan's Ethereal Woodblock Prints. August. Accessed June 2021. https://mymodernmet.com/ukiyo-e-japanese-woodblock-prints/2/.

n.d. The evolution of ukiyo-e and woodblock prints. Accessed June 2021. https://www.khanacademy.org/humanities/art-asia/art-japan/edo-period/a/the-evolution-of-ukiyo-e-and-woodblock-prints.

W., Lorna. n.d. What is Manga. Accessed June 2021. https://www.infobloom.com/what-is-manga.htm.

Willmann, Anna. 2012. Japanese Illustrated Handscrolls. November. Accessed June 2021. https://www.metmuseum.org/toah/hd/jilh/hd_jilh.htm.

—. 2013. Yamato-e Painting. April. Accessed June 2021. https://www.metmuseum.org/toah/hd/yama/hd_yama.htm.

Yamaguchi, Mai. n.d. Hokusai's printed illustrated books. Accessed June 2021. https://www.khanacademy.org/humanities/art-asia/art-japan/edo-period/a/hokusais-printed-illustrated-books.

Endnotes

[1] Nobuo, Tsuji. 2018. History of Art in Japan. New York: Columbia University Press. Pg. 167. [2] ibid., Pg. 222. [3] ibid,. Pg. 222. [4] Richmann-Abdou, Kelly. 2019. The Unique History and Exquisite Aesthetics of Japan's Ethereal Woodblock Prints. August. Accessed June 2021. https://mymodernmet.com/ukiyo-e-japanese-woodblock-prints/2/. [5] Nobuo, Tsuji. 2018. History of Art in Japan. New York: Columbia University Press. Pg. 361-362.