An Actor in the Miyako Dance. By Shunko, pupil of Shunsho, nicknamed Ko-tsubo, or “The Little Jar,” from the seal used by his master.
The landscape of Hiroshige, though confined to the narrow range of the wood-cut, have all the qualities of Impressionism, the details are subordinated, only the salient points of the scene being represented, but the atmosphere supplies what is lacking, and this incommunicable, subtle gift, the birthright of the artists, enabled them to conjure living pictures from the hard medium of the wooden block.
The following suggestive comparisons between the masters of Ukiyo-ye, kindly volunteered by Mr. Morgan Shepard, are full of value to the student, as the individual opinion of a refined amateur and art critic.
Of Harunobu he says: “Though from the point of proportion his figures seem to lack technic, the naïve artlessness of his lines perfectly satisfies us. In this purpose of simplicity they almost suggest the qualities of the fresco work by the early Tuscan masters, when the spirit was striving for expression and working out individuality along its own spiritual lines. The vigour of his stroke impresses one as being untraditional.
“In the figure of the Dancer by Shunko, the pupil of Shunsho, we observe that, although through training and tradition the pupil has gained a greater facility, yet the simplicity of the master is lost in an excess of elaboration. The lines resemble those of Shunsho, though there is more uniformity of stroke, with a greater delicacy, but the simplicity of the first artist is merged in decorative purpose. Shunsho is distinctly simple and his lines have a blended quality of relation, giving a sense of repose which in the pupil is obscured by the tendency to elaborate.
“In epitomizing the cardinal qualities expressed in the Utamaro prints, the most marked is the suggestion of subjective, unconscious skill that gives no impress of the objective. Each line seems to come directly from the fountain-head of the man’s spiritual or soul nature, though this very soul nature expresses itself often along sensual lines. Indeed, were the artist less of a spiritual genius, he would often become revoltingly sensual. To the casual observer the lines of Utamaro show wonderful facility, and still greater delicacy, yet we cannot but observe underlying all his art, especially in its later phases, this subtle sensuality. The lower draperies of the Utamaro figures have an almost insinuating fullness.
“The compositions of Yeishi, upon superficial study, suggest marked facility and even some originality in line composition, with here and there an eccentricity which gives character to his treatment. The lines seem to be invariably broad and openly expressed. They lack the strong personality and vigorous treatment of Hokusai, the suggestive delicacy and voluptuousness of Utamaro, but seem to embody the vigorous calligraphic stroke of Kiyonaga. We can place Yeishi upon a plane of individuality because of his sensitive temperament which seemed to be influenced by his environment and his master teacher. This varied individuality was accompanied by a tendency towards imitation, yet a generous discrimination would concede to him facility, technic, refinement and rare judgment.
“The lines of Toyokuni show technical skill, and his calligraphic stroke is simple and vigorous, yet he lacks the spiritual and suggestive delicacy of Utamaro, giving the impression that externalities influenced him, rather than the finer shades of artistic interpretation.
The Snowstorm. By Kitugawa Yeizan.