Paintings in Film | East Asian Painting and Cinema: Japan, South Korea and China | "Last Moments of Admiral Yamaguchi" | Wikipedia

East Asian Painting and Cinema

Biopics about Japanese, South Korean and Chinese painters.

 

The groundbreaking, seminal study edited by Ehrlich and Desser on Sino-Japanese paintings and film must be mentioned here (see bibliography).

 

Five Women around Utamaro (Japan 1946 by Kenji Mizoguchi with Minosuke Bandô as printmaker Kitagawa UTAMARO 1753-1806). Thorough analyses of the film can be found in and by Dalle Vacche (Cinema and Painting) 197—220 and by Dudley Andrew in Ehrlich 217—240 (see bibliography).

 

Yumeji (夢二, Japan 1991 by Seijun Suzuki with former rock star Kenji Sawada as the poet-painter Takehisa YUMEJI 1884-1934).

 

Official trailer:

 

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Source: You Tube by Quadflix

 

Yumeji forms the final part (after a ten-year gap) of Suzuki’s Taishō Trilogy together with Zigeunerweisen (Gypsy Melodies1980) and Kagero-za (Heat Haze Theatre 1981), fantastical, surrealistic ghost stories all set “in the exuberant and intense Taisho era 1912-1926, the transforming period in which the West’s raucous Jazz Age was introduced into a rapidly modernizing Japan.” Popularly called the ‘Japanese Toulouse-Lautrec’, Yumeji is known for his bohemian lifestyle and paintings of women or “bijinga… in natural poses with slightly melancholic expressions” (Murguia 374). The six museums dedicated to his work as painter, printmaker and illustrator testify to his lasting appeal. For further biographical details see

 

http://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=143481

 

For his paintings, prints, and information about six exhibitions and three museums see

 

http://www.myjapanesehanga.com/home/artists/takehisa-yumeji-1884-1934

 

Video: The Art of Yumeji Takehisa is a color slide show of his art

 

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Source: You Tube by Vertigo1871

 

As not very much “is known about Yumeji’s early artist’s life” the director obviously felt free to do whatever he wanted with his protagonist “and created a portrait of a whimsical painter madly engaging with his subjects” (Murguia 374).Yumeji travels to Kanazawa to meet his lover but instead falls for a widow whose murdered husband returns from the dead. The film is full of very intense, overly bright colors with many connecting narrative sections deliberately skipped or left out.

 

Opening credits:

 

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Source: You Tube by Donia Shody

 

After these Yumeji is at a garden party entranced by a woman without a face in a red kimono suspended from a tree branch. Large, brightly coloured balls are bounced up into the air by a group of people in Western-style dress as Yumeji tries to push his way through dressed in Japanese attire. A little later we see close-ups and medium shots of hands on wooden beams and travel trunks that dissolve into paintings or appear then fade away. As regards how the traditional Japanese interior is depicted, screens and dividing walls create flat surfaces, horizontal and vertical lines marking the boundaries. The way the traditional Japanese house is laid out creates different blocks of space either empty or full, receding from the fore- to the background.

 

At the end of the film Yumeji is standing in a field of tall grass wondering “who and what he has been waiting for, questions answered by the film’s final sequence, a return to the woman floating in the tree from the opening sequence only now there is a segue into Yumeji’s Song of Evening Primrose painting, first seen in close-up before the camera slowly backtracks ever further until the painted screen is left hovering (like the woman) at the centre of the image surrounded by black:

 

https://www.google.de/search?q=Yumeji+Song+of+Evening+Primrose&hl=de&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjBtujrg8nZAhUKDOwKHRXiDZoQ_AUICigB&biw=1600&bih=743#imgrc=5HFeqnCtZTKuRM:

 

Chi-hwa-seaon (South Korea 2002 by Im Kwon-taek with Choi Min-sik as the nineteenth-century Korean painter Jang Seung-eop 1843-1897).

 

SHIN YUN-BOK aka Hyewon 1758-1813, one of the three most important folk painters of the Joseon Kingdom (1391-1910). The 2007 historical fiction novel The Painter of Wind by Lee Jung-myung advances the theory that Shin may actually have been a cross-dressed girl, an idea that was subsequently taken up by the 2008 South Korean TV historical drama Painter of the Wind directed by Jang Tae-yoo and Jin Hyuk with Park Shin-yang as the painter. Though born a girl, Shin lives her whole life as a man because of discrimination against women in education and other areas of life and also to find who murdered her father. The same year a feature film based on the same novel was released, Portrait of a Beauty (South Korea 2008 by Jeon Yun-su) with actress Kim Min-sun as the (again female) painter who dresses as a man as a strategy of survival in the Confucian era.

 

Hua Hun / A Soul Haunted by Painting (China 1994 by Huang Shuqin with Gong Li as Pan Yuliang 1899-1977, who was sold into prostitution at the age of 15 before becoming a painter, graphic artist and sculptor)

 

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Part 1 of 8 – Source: YouTube by filmandfilm.

 

Yuliang’s life story is also told in the 2003 Hong Kong Television Broadcasts Limited drama series Painting Soul by Guan Jinpeng where her role is played by Michelle Reis)

 

Tyrus Wong (1910-2016)

 

On the occasion of his death on 30 December the New York Times published “How ‘Bambi’ Got Its Look from 1,000-Year-Old Chinese Art” by Daniel McDermon. Calling the Chinese-American “an incredibly accomplished painter, illustrator, calligrapher and Hollywood studio artist”, McDermon goes on to emphasize “his essential contribution to Walt Disney’s 1942 animated classic, Bambi.” Obviously influenced by the landscape paintings of the formative Song dynasty (A.D. 960–1279) such as Xia Gui’s “Sailboat in a Rainstorm” from 1189-94, the style employed by Wong in Bambi puts the stress firmly on “the film’s animal characters in the foreground, evoking the lush surrounding forest with minimal brushwork, gentle washes and slashes of color.” For the whole article see

 

https://www.nytimes.com/2017/01/05/arts/design/how-bambi-got-its-look-from-900-year-old-chinese-art.html

 

including reproductions of (sketches for) paintings and of film stills. McDermon’s piece also draws attention to “Water to Paper, Paint to Sky”, Wong’s first comprehensive retrospective exhibition from

15 August 2013—3 February 2014:

 

https://de.scribd.com/document/194697672/Water-To-Paper-Paint-To-Sky-The-Art-of-Tyrus-Wong

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