Japanese art has long been associated with a simple and elegant portrayal of nature. Embodying that approach is the Nihonga movement of the turn of the 20th century, which uses all-natural materials to highlight a deep connection to the planet.
The Shibunkaku gallery in Kyoto has gathered 22 artworks from 13 Japanese artists who flourished in Nihonga for TEFAF Maastricht, which starts next week. The goal is to honor the impact of these artists — all deceased — as well as focus on their renewed relevance in a world whose battles over climate change increasingly embrace the use of natural products.
For Dai Tanaka, 58, the chief executive and director of Shibunkaku, this is a chance for the gallery to help make the world more aware of the Nihonga movement. The term, which means “Japanese paintings,” was used to refer to Japanese art as far back as a thousand years, but was then applied to a specific movement of natural art that evolved around the turn of the last century. Mr. Tanaka sees this rich history as a guidepost for the future of art.
“For us Japanese, nature is something that accompanies human existence, where the gods dwell,” Mr. Tanaka said in a recent video interview. “We are grateful for the changing seasons and the blessings of nature. We believe that these qualities resonate in a deep way with contemporary problems, be it environmental destruction, climate change or the creation of a new sustainable way of life.”
The Nihonga style of painting incorporates mineral pigments, and sometimes ink, with other organic pigments on silk or paper. The term was coined during the Meiji period, roughly 1868 to 1912, to differentiate it from Yoga, or Western-influenced Japanese painting.
Shibunkaku, founded in 1937 in Kyoto, has defined itself for decades as celebrating art from different cultures, eras and genres, with a focus on early modern and modern Japanese fine art, most notably calligraphy and painting. The gallery has been dealing in Nihonga artwork since just after World War II.
