Justin Patrignani
Fuji:
The Sacred Mountain
The piece of artwork I am going to analyze and explore more indepthly is called “Portrait of an Artist as a Nun.” This piece was done by the artist Noboru Sawai in the year 1990. When looking at the influences that may have effected Sawai’s work it is important to look at his education background. He was educated in the United States, where he received his undergraduate degree at Augsburg College, then received his Masters of fine Arts from the University of Minnesota in the year 1969. Shortly after in the year 1970 he studied under Toshi Yoshida in Japan. We see the conflict, which may not be the best word to use to describe the situation but serves the purpose, between Western and Eastern styles of art and influence.
Taking a look at the background of the Yoshida family quickly will help aid in the understanding of his printing techniques and style. Toshi Yoshida was son of Hiroshi Yoshida. Both predominant artist of their time. Hiroshi Yoshida was both an artist and a print maker and Toshi continued in is style. Both men traveled the world, but it seems that Toshi Yoshida was fond of both landscape and animal prints. One of the most influential landscape monuments noticed throughout the history of Japanese art is that of Mount Fuji. There are many prints of both Toshi and Hiroshi depicting the mountain. The idea that the prints seem so incredible and in so many varieties, their aesthetic value may overcome the spiritual intent behind the incredible amounts of artwork showing the mountain.
To take a closer look at the importance of Mount Fuji throughout the history of Japanese art, it is important to look at the work of Hokusai. Hokusai had done his multiple prints of Fuji in hope to gain a longer life and admission to become an immortal. To understand why Hokusai may have seen depicting Fuji as the way to gain this, we must first understand the religious implications depicted by the mountain itself. Mount Fuji is also known as the “Mountain of Immortality.” (Smith II, 7) This was believed because inside the volcano was believed to be kept the true gift of immortality. Other than the fact that Fuji itself was thought to hold the gift of immortality the fact that the Japanese held all mountains sacred held true to Hokusai. He did not paint Fuji so much as a symbol of Japan, but of spirituality. The development of the spiritual aspect of Fuji can be linked to both Shinto and Buddhism.
There is another spiritual aspect of Fuji though, one that created a religion based solely on the mountain. This was known as Fujiko. The basis of this religion was based upon which direction the mountain was seen in. By this I mean which direction was considered to be the front of the mountain and which was to be considered the back. This was known as an Edo religion and referred to worshipping Fuji from the northern direction. We see this depiction of the peak in Hokusai’s “One Hundred Views of Mt. Fuji” no. 57. This depiction shows the mountain being worshipped from the northern view. The importance of the portrayal of this image to Hokusai must have been to show all forms of the mountain in which it had been spiritually incorporated.
Another aspect of Hokusai’s work which depicts Fuji in an important sense is the visual dominance of the mountain itself. We see it depicted in so many ways throughout his work. Sometimes it is visually clear and the center of the piece, other times it is off in the distance, clouded and misty. Sometimes it is almost hidden until looking at the piece for a more extended period of time. The importance of this idea of true natures landscape for the mountain shows the everlasting idea that the sacred mountain possesses. We see such a deliberate change in the views and clarity, but never the complete absence of the mountain or degrading of. Even on the most weathered days, Fuji can still be seen. Fuji must be seen and drawn from every angle and depiction, this for Hokusai reflected upon the most virtuous of aspects of Fuji. Hokusai also used the mountain to depict one other very important Japanese tradition, the seasons. We also see him use the mountain to let us know the time of day. The use of Fuji in his paintings carries an incredible amount of meaning behind them, besides just the fact that it was a recurring theme throughout much of his work. We see his use of landscape even studied by “both the impressionists and postimpressionists such as van Gogh and Gauguin.” (Whitford, 8)
With this knowledge of the historical aspect of Mount Fuji, it is easier to consider what Noboru Sawai may have been using this visual reference for. With the use of nun in the title,we see a religious aspect being brought to the piece. This is something not seen with Hokusai, as his encounter with the West and Western traditions was not as strong as Sawai’s were. Noting this fact, it is incredible the religious clash seen in the painting. With respect to the religions of Shinto, Buddhism, and Christianity, we see a tie to the mountain in a completely religious tradition. The face that is centered in the middle of the mountain is a more abstract idea then the tradition that Hokusai would have focussed on. One important feature to note also is the color of the center of the mountain. For religious traditions sake the center of the mountain contained an idea of longevity and immortality. The goal for Hokusai was to depict the image to gain immortality.
Perhaps we see this idea of immortality and acceptance into the idea in a Christian sense of living eternally with God being portrayed here. We see him depicting the artist, according to the title inside the mountain, and also referring to the Christian idea of a nun. He is possibly tying both the western and eastern ideas of the sacred mountain of Fuji together. That is depicting the mountain as a reflection of respect and understading of the religious implications of the mountains.
The deep rooted religious beliefs of Japan and their tie to Mount Fuji is of course much different than that of the Westerner. The tie between the symbols shows the evolution of the form of Japanese art, an evolution of the respect and use of Fuji for religious connotations. We see the image portrayed very often throughout the long tradition af Japanese art and the meanings for the use of it. Centuries have passed and still Fuji is being used throughout artwork as a dominant feature. Context for the mountain has altered throughout time, but still it is appreciated and noted. The great Mount Fuji, once an active and dangerous volcano has become an icon. A symbol to be cherished, studied and still reproduced. The context used has always held somewhat of a religious connotation. We see the continuing tie between the traditional use of the mountain and a more nontraditional, or Western, depiction of the mountain in Sawai’s work.
Works Cited
Ficke, Gladys B. Chats on Japanese Prints. Charles E. Tuttle Company, Inc.: Vermont, 1966.
Smith II, Henry. Hokusai: One HUndred Views of Mt. Fuji. George Braziller, Inc: New York, 1988.
Whitford, Cecilia. Japanese Prints. St. Martin’s Press, Inc.: New York, 1978.