Dispelling Misconceptions About Meiji-Era Art in Japan

Exploring Japan’s rich artistic heritage, particularly during the politically charged Meiji era, is a daunting endeavor, largely due to the limited English-language resources on the subject. However, the new book, The Splendour of Modernity: Japanese Arts of the Meiji Era, by author and curator Rosina Buckland, sheds light on this complexity with remarkable clarity.

Buckland’s work is part of a growing body of literature that challenges the simplified notion that Meiji-era art, from 1868 to 1912, was merely a dilution of traditional Japanese styles under foreign influence. Instead, she argues that art during this period evolved organically, incorporating both unique Japanese traditions and international styles, including Impressionism and realism. This blend enriched local practices rather than diminished their cultural identity.

The Meiji Restoration heralded the fall of a 700-year-old military shogunate, paving the way for modernization, including a government initiative to elevate the arts. This effort established museums and showcased Japanese art at international exhibitions in cities like Vienna and Philadelphia. The five chapters of Buckland’s beautifully illustrated book meticulously chronicle the artistic developments of this dynamic decade in cities such as Tokyo and Kyoto while also providing context through a thoughtful examination of existing historiography and political developments.

In the early Meiji years, Buckland notes, Japanese artists excelled in producing exceptional scrolls and intricate cloisonné works. They also continued to cater to both domestic and foreign demand for woodblock prints, evolving from the Edo period (1603–1868). As Japanese craftsmanship gained recognition abroad, the government implemented policies to support artisans, while Western artistic techniques gained popularity.

A highlight of Buckland’s research is her examination of nationalism and individualism in Japanese art between 1885 and 1905. Artists like ukiyo-e printmaker Adachi Ginkō viewed their work as a symbol of national pride, often depicting significant political events. For instance, his woodblock print “View of the Issuance of the Constitution in the State Chamber of the New Imperial Palace” (1889) captures the emperor, dressed in Western military garb, surrounded by family and government officials within a traditionally Japanese setting.

The Splendour of Modernity arrives at a timely moment, as scholars are increasingly seeking to “decolonize” art history. Buckland critiques dominant Western perspectives on Japanese art, which often label it as either overly modern or insufficiently so. She convincingly argues that modernity in late 19th-century Japan derived influence not only from Western paradigms but also from East Asian nations like Korea and China. The unique fusion of traditional Japanese and ancient Asian aesthetics with Western styles is precisely what makes Meiji-era art defy simplistic categorization.

The Splendour of Modernity: Japanese Arts of the Meiji Era by Rosina Buckland, published by Reaktion Books, is available for purchase online and through independent booksellers.