{"id":6054,"date":"2009-09-09T02:40:35","date_gmt":"2009-09-09T01:40:35","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=6054"},"modified":"2009-09-09T02:40:35","modified_gmt":"2009-09-09T01:40:35","slug":"maruyama-okyos-peacocks","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/09\/09\/maruyama-okyos-peacocks\/","title":{"rendered":"Maruyama Okyo&#8217;s peacocks"},"content":{"rendered":"<p><a href=\"http:\/\/www.miho.or.jp\/booth\/html\/imgbig\/00001272e.htm\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2009\/09\/okyo1.jpg\" alt=\"okyo1.jpg\" \/><\/a><\/p>\n<p><em>Peacock and Peahen (18th c.).<\/em><\/p>\n<p>I&#8217;ve had an untitled Japanese painting of a peacock as a desktop image for a while now, its origin forgotten, and I&#8217;ve wondered a few times who the artist was. A recent posting about <a href=\"http:\/\/www.artcyclopedia.com\/artists\/maruyama_okyo.html\" target=\"_blank\">Maruyama Okyo<\/a> (1733\u20131795) at <a href=\"http:\/\/bajoelsignodelibra.blogspot.com\/2009\/08\/maruyama-okyo.html\" target=\"_blank\">Bajo el Signo de Libra<\/a> made me think that Okyo might be the artist responsible. As it turns out, he wasn&#8217;t, my bird is by one of his pupils, <a href=\"http:\/\/atributetoart.com\/item.php?id=3509\" target=\"_blank\">Nagasawa Rosetsu<\/a> (1754\u20131799), and looks like a copy of the picture below. Mystery solved anyway, and the search gives me a good excuse to link to some of Okyo paintings. These differed from the prevailing style of the period, Okyo having studied Western artists and their methods in order to produce work which was more realistic than that of his contemporaries.<\/p>\n<p><a href=\"http:\/\/www.ishibashi-museum.gr.jp\/e\/collections\/b.html\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2009\/09\/okyo2.jpg\" alt=\"okyo2.jpg\" \/><\/a><\/p>\n<p><em>Peony and Peacocks (1781).<\/em><\/p>\n<p><em>\u2022 <\/em><a href=\"http:\/\/search.japantimes.co.jp\/cgi-bin\/fa20061116a2.html\" target=\"_blank\">A realist and an eccentric<\/a> | Okyo and Rosetsu profiled.<\/p>\n<p><a href=\"http:\/\/www.antiquehelper.com\/item\/309569\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2009\/09\/okyo3.jpg\" alt=\"okyo3.jpg\" \/><\/a><\/p>\n<p><em>Peacock (no date).<\/em><\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/05\/19\/louis-rheads-peacocks\/\">Louis Rhead\u2019s peacocks<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/03\/25\/the-white-peacock\/\">The White Peacock<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2008\/11\/07\/peacocks\/\">Peacocks<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2008\/02\/14\/whistlers-peacock-room\/\">Whistler\u2019s Peacock Room<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2008\/01\/20\/beardsleys-salome\/\">Beardsley\u2019s Salom\u00e9<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Peacock and Peahen (18th c.). I&#8217;ve had an untitled Japanese painting of a peacock as a desktop image for a while now, its origin forgotten, and I&#8217;ve wondered a few times who the artist was. A recent posting about Maruyama Okyo (1733\u20131795) at Bajo el Signo de Libra made me think that Okyo might be &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/09\/09\/maruyama-okyos-peacocks\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Maruyama Okyo&#8217;s peacocks&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,44],"tags":[4267,78,704,705,444,123],"class_list":["post-6054","post","type-post","status-publish","format-standard","hentry","category-art","category-painting","tag-bajo-el-signo-de-libra","tag-louis-rhead","tag-maruyama-okyo","tag-nagasawa-rosetsu","tag-peacocks","tag-salome"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-1zE","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/6054","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=6054"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/6054\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=6054"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=6054"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=6054"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}