Bamboo and Chrysanthemums, Yamamoto Baiitsu

Exhibition Label:
"Nature/Natural," Jul-2014, Kris Ercums
Like Okada Beisanjin, whose work is also displayed on this wall, Yamamoto Baiitsu was an accomplished nanga 南画 painter, who followed Chinese literati styles. In this hanging scroll, Baiitsu pays homage to the Chinese literati tradition in his use of the bamboo-and- chrysanthemum motif, which symbolizes endurance and courage. Bamboo is pliable, bending in the wind without breaking, and also remains green throughout the winter months. Chrysanthemum blooms in the cold of late autumn and early winter. Together these two plants form part of the “four gentlemen.”
Baiitsu is known for his richly varied and refined brushwork, apparent in this painting in the delicately rendered plants and rocks. The sinewy stems and the elegantly bending stalks of bamboo contrast with the solidity of the rocks, while light colors on the chrysanthemums enliven the painting.

Exhibition Label:
Asian Gallery, Summer 2003, Youmi Efurd (Didactic panel)
Flora & Fauna
Chinese bird-and-flower painting, fostered by imperial patronage, flourished during the Song dynasty (960-1297). The Song emperor Huizong (r. 1101-1126) himself was a painter of flower and bird subjects of considerable renown, and under his patronage the Court Academy fostered the tradition as never before, or indeed since. Huizong’s preference was for the most literal renderings of the details of nature.
The notion of the Court Academy, which had been established by Huizong in the Song, was restored in the Ming dynasty (1368-1644). The early Ming Academy of painters reinvigorated the genre of flower and bird painting—adopting the Song style of rendering images in meticulous detail—which continued into the Qing dynasty (1644-1911).
In Chinese tradition, the meaning of the flower and bird symbolism is multi-layered. It could be aesthetic, philosophical, religious, and even political, according to the context. The motifs of plants and birds could be used to express an endless range of meanings and sentiments.
Chinese bird-and-flower painting was transmitted to Japan by Chinese visitors during the Edo period (1615-1868). As so often happened in Japanese cultural history, native artists made new combinations of traditions that had been kept distinct in China. Academic and literati influences from China were often mixed together with the Japanese preference for dramatic asymmetrical compositions and evocative brushwork. This led to a new form of bird and flower painting that owed much to China and yet was fully expressive of the Japanese spirit.

Exhibition Label:
Asian Gallery, Summer 2003, Youmi Efurd
Yamamoto Baiitsu, an artist of extraordinary technical skill and versatility, is considered one of the most accomplished of the fourth-generation literati artists. Born in Nagoya, he first studied a variety of styles—from the realism of Chinese bird-and-flower painting practiced in Nagasaki to the ink painting.

The painting depicts stalks of bamboo and chrysanthemums behind a rock. These plants are two of four gentlemen painting (Plum, Orchid, Chrysanthemum, and Bamboo), a traditional ink monochrome literati painting. Yamamoto uses the spontaneous style of Chinese literati painting; adding color to the ink outline.