Ohara Koson, born in 1877 in Kanazawa, Japan, was a prominent figure in the shin-hanga movement, a modern revival of traditional Japanese ukiyo-e woodblock prints, which flourished during the Edo and Meiji eras, from the 17th to the 19th century. During this revival, the collaborative hanmoto system, which divided labour between the artist, carver, printer, and publisher, was preserved.

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While Koson’s prints were developed primarily for foreign markets, particularly in Europe and the USA, they were not immediately popular in Japan. Instead, certain stylistic changes, such as a more naturalistic portrayal of animals and an increased focus on realism, helped to make his work more appealing to Western collectors.

The Great Tit print reflects this balance, combining the elegance of traditional Japanese simplicity with Western naturalism through its fine detail. How did Koson manage to blend these two worlds, creating timeless artworks that captured the attention of Western audiences? This article explores how Western art left its mark on Koson’s style and technique while he remained true to the core of Japanese art. 

Historical and Cultural Context

Before Japan opened its doors to the West in the mid-19th century, the country had maintained a policy of isolation for over 200 years under the Tokugawa shogunate, with very limited trade and cultural exchange with outside nations. This period, known as sakoku, allowed Japanese art to develop its unique styles without significant external influence. However, with the Meiji Restoration in 1868 and Japan’s opening to the West, Western art began to permeate Japanese culture, sparking new movements.

The shin-hanga movement, which Koson was a part of, emerged in this context. Unlike shinsaku-hanga, which prioritised the artist’s autonomy and creativity, shin-hanga retained the collaborative hanmoto system and maintained strong ties to traditional techniques. This made it distinct from more radical movements while still integrating Western ideas. Koson’s work was especially admired in the West for its blend of Japanese aesthetics and certain Western qualities like realism and composition.

His prints, such as Blossoming Cherry on a Moonlit Night, were visually striking to Western collectors, who appreciated the serene beauty of the scene with its soft interplay of light and shadow, creating a peaceful, almost romantic atmosphere. 

Western Artistic Influence on Koson’s Style

Koson’s prints are known for their meticulous detail and careful composition, often featuring birds in flight or perched against a natural backdrop. One of the most notable Western influences on Koson’s work can be seen in his comparison to Western ornithological artists, such as John James Audubon. For example, Audubon’s American Flamingo is highly detailed and anatomically precise, featuring shading that brings the bird to life with depth and texture. The background in Audubon’s works often remains minimal, allowing the animal itself to take centre stage.

Koson’s Cranes exhibit similar attention to form and anatomy but without the overt depth of shading seen in Audubon’s work. While Western artists like Audubon focused on anatomical accuracy and sometimes detailed diagrams of appendages, Koson’s approach was more minimalist, capturing the graceful beauty of the birds without as much emphasis on their physical structure. This subtle use of shading and focus on composition reflects Koson’s ability to adapt Western techniques while maintaining the serene elegance characteristic of Japanese art.

Technique: Traditional Japanese and Western Methods

While Koson’s style was undoubtedly influenced by Western art, he remained loyal to the traditional methods of Japanese woodblock printing. The intricate, labour-intensive process, which involved collaboration between the artist, carver, and printer, was preserved through the hanmoto system, a key feature of the ukiyo-e tradition that Koson continued in the shin-hanga movement. 

In his print Peacock, the exquisite detailing of the bird’s feathers and the vivid gradation of colours reflect Koson’s willingness to integrate Western techniques. The peacock’s feathers are carefully textured, with subtle shifts in hue, showcasing the rich vibrancy enabled by Western printing innovations, while the overall composition and the bird's placement on the canvas still evoke traditional Japanese restraint.

Koson’s experimentation with Western colour techniques, such as fine gradations and layering, can be seen across works like Orange Flower and Blooming Lotus Flower, where the shading brings the floral subjects to life in a manner more akin to Western botanical illustrations. Yet, even with these influences, Koson’s adherence to Japanese aesthetics remained evident, with simplicity and elegance still at the forefront of his prints. 

Orange Flower by Ohara Koson

Blooming Lotus Flowers by Ohara Koson

Subject Matter and Western Appeal

Koson’s focus on birds and flowers reflected traditional Japanese themes, but his naturalistic style and attention to detail also catered to Western tastes. At the time, Western audiences were drawn to ornithological studies in art, as seen in the works of contemporaries like Edward Lear and Archibald Thorburn, whose paintings and prints also focused on birds in natural settings.

Two Pigeons on an Autumn Branch by Ohara Koson

Koson’s Two Pigeons on Autumn Branch is a perfect example of how he bridged these worlds. The pigeons are portrayed with strikingly vivid violet hues, especially in the head and body, reflecting Koson’s skill in creating colour contrasts that draw the viewer’s eye. The soft, gradual blend of the autumnal background harmonises with the vibrancy of the pigeons, creating a scene that is both peaceful and visually striking. The composition feels balanced and serene, a hallmark of Japanese aesthetics, but the realistic rendering of the birds speaks to a Western influence on his work. 

Cross-cultural Exchange and Legacy

Koson’s work stands as a testament to the cultural exchange between Japan and the West during the late 19th and early 20th centuries. His prints catered to Western tastes while maintaining a distinctly Japanese aesthetic, creating a unique blend that resonated with collectors around the world. Koson’s mastery of birds and flowers, depicted in such intricate detail, made his work widely admired and collected.

The print Kingfisher by Flower exemplifies this blending of naturalistic animal subjects with the serene simplicity of Japanese art. The soft background emphasises peace and calm, allowing the vibrant kingfisher to stand out. This fusion of naturalism and minimalism highlights Koson’s ability to balance the demands of a Western audience with the delicate beauty of Japanese traditions, solidifying his legacy as one of the most prominent figures in the shin-hanga movement.

Kingfisher by Flower by Ohara Koson

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Ohara Koson’s artworks serve as a bridge between Japanese tradition and Western modernism. His mastery of both styles allowed him to create prints that were not only visually stunning but also culturally significant. Through his depictions of birds, flowers, and natural landscapes, Koson captured the essence of both Japanese minimalism and Western realism, producing timeless pieces that continue to inspire and captivate art lovers worldwide.

See more from Ohara Koson here.