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Upphovsrätt Detta verk är fritt från upphovsrätt. Ito Jakuchū avled 1800; upphovsrätten gäller 70 år efter konstnärens död, vilket innebär att den upphörde 1870.
I sammanhanget
Bean Vine — Ito Jakuchū
Originalet mäter 126 × 48 cm (höjd × bredd), avbildat här bredvid en vuxen person av genomsnittlig längd.
Skuggat: Ito Jakuchū livstid (1716–1800) ▲ detta verk, 701
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Om detta konstverk
Bean Vine — Ito Jakuchū
Itō Jakuchū, son of a greengrocer, used vegetables and plants as a personal iconography that almost always included a moral or religious meaning. This handsome sketch of a bean plant, paired with a poem by Ōbaku Zen monk Musen Jōzen (Tangai), refers to a story about the Chinese poet Cao Zhi (192–232), whose tyrannical brother, Cao Pei (Emperor Wen), once commanded him to compose a poem before he took seven steps, threatening him with execution if he failed. Tangai’s verse makes an erudite reference to Cao Zhi’s original poem comparing himself and his brother to the parts of a bean plant, while also alluding to the Zen philosophy of nonduality. The green vine puts forth blossoms, and its pods are like half-formed swords. The bean and stalk are inseparable; both were born from the same roots. —Trans. John T. Carpenter
Konstnär och museum
Född i Kyoto, Japan
Early Life and Family Background
Training and Artistic Influences
Style and Technique – The Eccentric Master
Notable Works and Symbolism
Legacy and Rediscovery in the 20th Century
Itō Jakuchū (伊藤 若冲; March 2, 1716 – October 27, 1800) emerged from the bustling Nishiki market district of Kyoto—a vibrant hub of commerce and culture—as one of Japan’s most singular artistic voices. Unlike many artists of his era who adhered to established lineages within the Kano school or other formalized traditions, Jakuchū's formative years were profoundly shaped by his father’s role as a successful grocer – Itō Genzaemon – establishing Masuya, a prominent retail business at the heart of Kyoto’s commercial center. This familial connection instilled in him not only an understanding of economic realities but also a keen awareness of societal shifts occurring during Edo period Japan—a perspective that subtly permeated his artistic worldview. Growing up amidst this dynamic environment fostered a spirit of observation and experimentation, preparing him for a path distinct from conventional artistic training.
Jakuchū’s artistic education was unconventional by Edo standards. Rather than attending a formal art academy—a practice common among aspiring artists—he honed his skills independently, absorbing knowledge primarily through the mentorship of Ōoka Shunboku, a Kano school artist based in Osaka. Shunboku's teachings focused on mastering the meticulous depiction of birds and flowers – doshoku sai-e, a technique that would become Jakuchū’s signature style. However, crucially, Jakuchū also undertook extensive study within Shokoku-ji temple—a Zen Buddhist institution—where he encountered classic Chinese paintings from the Yuan and Ming dynasties. This exposure broadened his artistic horizons beyond mere stylistic imitation, fostering an appreciation for contemplative observation and informing his philosophical underpinning.
Jakuchū’s artistic style stands as a mesmerizing blend of painstaking realism and daring innovation. While deeply rooted in traditional Japanese subjects—particularly birds, flowers, and landscapes—he defied convention by venturing beyond mere replication of nature. His paintings are characterized by vibrant colors, dynamic compositions, and an unwavering willingness to challenge established perspectives. He achieved renown alongside Maruyama Ōkyo for his realistic renderings, yet Jakuchū distinguished himself through a profound engagement with Zen Buddhist principles. Unlike many artists who sought to capture idealized beauty, Jakuchū aimed to convey the essence of life—the vitality and character inherent within each subject. His masterful polychrome renderings – doshoku sai-e – are particularly celebrated for their extraordinary attention to detail and luminous palette, a stylistic hallmark rarely seen in Edo period painting.
Among Jakuchū’s most iconic creations is “Five Hundred Arhats,” a monumental undertaking that exemplifies his technical prowess and artistic dedication. This ambitious project—a depiction of five hundred Buddhist monks attaining enlightenment—demonstrates Jakuchū's mastery of perspective and color, pushing the boundaries of conventional painting techniques. Equally compelling are “Hanshan and Shide” – a pair of hanging scrolls depicting two Zen monks contemplating the beauty of nature—which capture the spirit of contemplative stillness and reverence for the natural world. Furthermore, his “Crabs and Peonies,” considered quintessential examples of Jakuchū’s distinctive style, seamlessly blend meticulous botanical detail with expressive brushwork, conveying profound symbolic meaning.
Despite remaining largely unknown during his lifetime—a fate shared by many artists of his era—Jakuchū experienced a dramatic resurgence of interest in the 20th century thanks to the pioneering scholarship of Nobuo Tsuji. Tsuji’s groundbreaking book, Kisō no Keifu (“Lineage of Eccentrics”), revolutionized perceptions of Edo period art by identifying Jakuchū as a pivotal figure within this movement—artists who deliberately rejected artistic conventions and pursued originality. This rediscovery propelled Jakuchū to prominence, establishing him as one of Japan’s most important painters and cementing his place in art history. Subsequent exhibitions and scholarly analyses further illuminated Jakuchū's genius, solidifying his reputation as a visionary artist who irrevocably shaped the trajectory of Japanese painting.
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Bean Vine — Ito Jakuchū
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