132:, but because of their gender, was not allowed to enter into an apprenticeship. Part of their artistic training involved the copying of funpon (pictorial models), which may be seen in their work and were also later used in their teaching. The use of funpon was derived from the Chinese, as the literati practice followed a Chinese example. Seiko was celebrated for their individual style, which drew from a variety of artistic elements and examples. Seiko predominantly used two distinct painting techniques: the Tokai style, popular in the 1870s and 1880s, which included loosely drawn ink landscapes and idiosyncratic calligraphy, and the Kumagaya style, popular in the 1890s and 1900s, which featured complex full-color brushwork on silk. During Japan at the time, learning through imitation in order to best achieve personal style and expression was reflective of the literati culture.
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72:. They were educated in Chinese history, literature, poetry, and philosophy— core subjects for a classical education at the time. They moved to Edo, around 1865, where they taught painting and lived in their later years with their companion (presumably partner) and student, Watanabe Seiran (1855-1918). Seiran, who stayed by Seiko's side for more than 40 years, ended up adopting Seiko's style. Their work is influenced by the
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Notably, research about female painters in East Asia during the 19th and 20th century is lacking. Historians have suggested that this is not due to a dearth in practicing female artists, which began to be more widely accepted in the 18th century, among the daughters of the gentry. Although women were
39:
Okuhara Seiko was a
Literati artist in Japan in the late 1800s. They became a leading artist in Japan founding an art school and displaying their art throughout the country. In 1891, at the age of fifty-five, Seiko decided to retire to a country village. The paintings created by Seiko following their
104:. Seiko was also noted for wearing masculine clothing and short hair, deliberately eschewing a feminine persona. As a famous bunjin (literati artist) artist, they are renowned for earning their own success with their art without literary or artistic connections, much like their contemporary
82:
literati school. Seiko, like most successful
Japanese artists of their time, adapted Chinese literati styles to Japanese tastes. Seiko retired from the capital and continued their active life of painting, traveling and poetry from a countryside villa in Kumagaya.
100:, as well as their reputation within the primarily male literati school. Early in their career, they changed their name from Setsuko to the gender-neutral Seiko. Their work has been characterized as "masculine" in both painting and
68:, a political and social center of her time. Although the Koga domain had legal restrictions that prevented women from leaving Koga, Seiko bypassed these restrictions by getting adopted by theur aunt in the neighboring
144:, a unique scroll that implements both painted images as well as poetic calligraphic writing in the Chinese language. Their art piece derives from a new formalized configuration of
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Although many of their works remain in private hands, there is a major collection at the Koga City
History Museum. Other museums that hold their work include the
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108:. Both artists also omitted the feminine character ‘joshi’ in their signatures. They and Noguchi Shohin were friends of the statesman
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Berry, Paul (Winter 1992). "Flowering in the
Shadows: Women in the History of Chinese and Japanese Painting. by Marsha Weidner".
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celebrated as authors and poets, paintings by female artists may have been characterized by
Japanese historians as effeminate.
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known as “literati art” that was perceived as an outlet for artists to express themselves through multiple dimensions. In
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from the external gaze while the combination of the window, curtain, and tree conceal and protect the woman's beauty.
215:. They were featured in the exhibit on "Her Brush: Japanese Women Artists from the Fong-Johnstone Collection" at the
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595:"Imagined Selves: Mediating Desires and Subject Positions in the Japanese Literati Art of Okuhara Seiko (1837–1913)"
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156:. The painting insinuates a sense of duality between intimacy and secrecy, for the open window permits
152:, Seiko illustrates a beautiful young woman sitting by an open window as she glances outward towards a
285:"Painting in Between: Gender and Modernity in the Japanese Literati Art of Okuhara Seiko (1837-1913)"
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Okuhara Seiko (1837-1913): The life and arts of a Meiji Period literati artist. (Volumes I-III)
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236:"OKUHARA SEIKO, Japanese Artist, 1837-1913, t, Major Female Artist, NO RESERVE | #497797066"
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Addiss, Stephen (Autumn 1993). "Yamanaka
Shinten'ō: The Albatross of Japanese Painting".
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Copying the Master and
Stealing His Secrets: Talent and Training in Japanese Painting
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Challenging Past And
Present: The Metamorphosis of Nineteenth-Century Japanese Art
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retirement are highly regarded and considered to be some of their finest work.
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Seiko is notable for their established and well-recognized career during the
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and they both enjoyed his patronage. Kido and the two of them would create
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and renowned for their success as a painter, Seiko resided primarily in
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which are collaborative paintings that include both pictures and text.
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345:"Okuhara Seiko & Watanabe Seiran 1837-1913 and 1855-1918 Japan"
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56:, Okuhara Seiko was born as the fourth daughter of a high-ranking
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805:"From the Harvard Art Museums' collections - Lotus in Autumn"
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260:"Matt & Andrej Koymasky - Famous GLTB - Okuhara Seiko"
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613:"Orchids, Okuhara Seiko ^ Minneapolis Institute of Art"
375:. University of Hawaii Press. pp. 4, 7, 116–118.
171:, the Saitama Prefectural Museum of Modern Art, the
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496:. University of Hawaii Press. pp. 178–180.
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140:In 1907, Okuhara Seiko designed
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16:Japanese artist (1837–1913)
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907:. 13 November 2022
665:The British Museum
637:"Autumn Landscape"
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936:1913 deaths
931:1837 births
349:Ria Brodell
146:Chinese art
130:Tani Bunchō
102:calligraphy
74:Kanō school
925:Categories
911:2022-12-04
886:2021-01-07
862:2021-01-07
838:2021-01-07
814:2021-01-07
790:2021-01-07
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718:2021-01-07
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646:2021-01-07
622:2021-01-07
438:(Thesis).
354:2023-05-24
330:2023-05-24
269:2023-05-24
245:2019-06-06
240:Worthpoint
223:References
211:, and the
877:"Lotuses"
563:April 10,
444:303980824
219:in 2022.
158:voyeurism
44:Biography
475:March 8,
440:ProQuest
91:Untitled
48:Born in
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114:gassaku
58:samurai
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535:JSTOR
417:JSTOR
136:Works
124:Style
79:nanga
66:Tokyo
34:奥原 晴湖
565:2015
498:ISBN
477:2019
377:ISBN
306:help
50:Koga
527:doi
409:doi
62:Edo
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