Style Imitating Art…
Welcome back for my interpretation of a beautiful piece of art. Salazar, Shelbee, and I are the curators. You can think of this series as fashion meets art museum! SIA challenges people to find inspiration in different art works, create looks based upon that art work, and share them with the curator for that piece. I selected this beautiful painting for us. I hope you enjoy this post, the information, and my interpretation.
How it works…
Every other Monday one of us selects an inspiration piece of art and posts the image on their blog. We then invite others to interpret that art work through their style. The following Monday, we share our outfits. The curator shares submissions the following Wednesday on her blog. I chose this week’s art work for this round of Style Imitating Art. If you’d like, you can read why I chose it here. Please send your photo to me by Tuesday, August 11th, 2026 by 10 pm EST. Style Imitating Art is an interesting way to inspire your outfits. You can see a few of my looks here, here, here, and here.
The artist…
Itō Jakuchū (伊藤 若冲) wasn’t destined to become an artist. He was the oldest son of a “wholesale vegetable merchant” named Itō Genzaemon and was expected to continue the family business when his father passed. The shop, called Masuya, was in the center of downtown Kyoto, in the Nishiki food district. Jakuchū was born on March 2, 1716 and showed talent at an early age. Some references said he studied under “Ōoka Shunboku, an Osaka-based Kano school artist known for his bird and flower paintings, when he was in his mid-teens. The young artist, however, didn’t particularly like the structure of the Kano school. Instead, Jakuchū observed and sketched the items around him…the vegetables at his father’s shop, fish in the Nishiki market, and the chickens in his own garden. He also used Chinese paintings as both instruction and inspiration. Though some of his paintings are of fanciful creatures like tigers, elephants, and phoenixes, Jakuchū painted with much more precision and detail when he painted the creatures and objects surrounding him. It’s believed he made hundreds of sketches of the all kinds of natural things, but the family’s pet rooster and chickens figure in many of them!
A little more…
When he was 23 years old, his father died suddenly. Jakuchū now took over the shop as expected. Some references report he ran the shop, but he didn’t necessarily do a good job as his painting occupied more of his time and thoughts. This dichotomy of the commercial life and the more ethereal life of a painter created quite a bit of conflict in the young Jakuchū. He had no choice but to take over the shop yet his passion was art. He ran the store for about sixteen years until 1755 when he turned it over to his brother so he could focus on painting.
Still more…
In 1728, the 8th shogun, Tokugawa Yoshimune, brought an elephant to Japan. The elephant supposedly walked from Nagasaki to Edo (modern-day Tokyo). Jakuchū would have been around 14 at the time and probably saw this exotic animal as it lumbered through the streets. This rare moment was so deeply ingrained in his brain he was able to recreate it in Birds, Animals, and Flowering Plants in an Imaginary Scene. You can find images of the screens here.
“It is a pair of six-panel folding screens, painted with pigments on paper. The surface of the painting is comprised of roughly 43,000 squares that are individually colored within each of the paintings’ panels. This unusual method of expression suggests Jakuchū understood the optical illusion of mixing color combinations within the squares, at a time before the art movements of Impressionism or Pointillism. His animal figures are vividly alive and alert within the scene, expressing a wit and playfulness characteristic of Jakuchū.”
Early years…
Jakuchū’s two story studio on the west bank of the Kamo River was called Shin’en-kan (Villa of the Expansive Heart) “after a phrase from a poem by an ancient Chinese poet.” The second story afforded him wonderful views of the city. Even during the time he ran the store, Jakuchū was still painting. By his late thirties, he had become known as a noteworthy artist and received many commissions from “temples and shrines to paint the wooden panels and fusama screens that embellished the interiors of their main buildings.” It was during his thirties, Jakuchū became friends with Daiten Kenjo, a Zen Buddhist monk. Through him, Jakuchū was able to access fine Chinese paintings in some of Kyoto’s Zen Buddhist temples.
Doshoku Sai-e…
Jakuchū spent ten years painting 30 scrolls of animals, birds, and plants. These scrolls accompanied the scroll paintings of the Buddha and two bodhisattvas. He presented the entire series (known as the Doshoku Sai-e {Colorful Realm of Living Beings}), as a gift, to the Shokokuji temple around 1765. The series is considered one of Jakuchū’s great masterpieces. The Doshoku Sai-e is in the collection of the Imperial Household Agency and is a National Treasure of Japan. “Created by a man who was not only technically gifted as an artist but also profoundly influenced by the teachings of Buddhism, these paintings are a reminder that while nature has the power to destroy, it is also capable of inspiring masterpieces and healing souls.”
“Each of the screens features a garden scene, one filled with animals and the other with birds. Jakuchū created these scenes by dividing the surface into a grid of more than 43,000 tiny squares, and coloring each square individually, often with multiple colors, like a painted mosaic. An artistic tour-de-force that must have taken many years to complete, this pair of screens may be his most intense artistic meditation upon the wonders of the natural world.”
Popularity and Buddhism…
Jakuchū was very popular due to his realistic paintings. He was listed as the second painter after Maruyama Ōkyo in the second and third edition of the Heian Jinbutsushi, a directory that listed famous people living in Kyoto at the time. Throughout his life, Jakuchū struggled with his role in that society (which was becoming increasingly commercial) and his very strong ties to Zen Buddhist ideals. Those who knew him described him as a solitary creature. As a devout Buddhist, Jakuchū practiced the Zen Buddhists ideals. He was “very calm, reserved, interested only in his painting,a nd showed no interest in social affairs. He never drank alcohol, would not eat meat, and he also never married.” His works, when compared to other artists of his time, seem to have very little in common. He was neither trend follower nor trendsetter. Because of this, Jakuchū was able to try out different techniques and even develop his own. Jakuchū became a recluse and became known as Tobeian (Bushel Monk). One source said the price for one of his paintings was approximately two bushels of rice. But, I wonder about those commissions! Surely, he charged a monetary price for those but perhaps not.
Painting style…
“Technically, Jakuchū employed innovative methods such as ‘uraizaishiki’ (back coloring), ‘masume-gaki’ (grid painting), and ‘sujime-gaki’ (line painting). ‘Uraizaishiki’ involves painting colors on the back of the silk, creating complex hues and depth. /Masume-gaki’ divides the canvas into small squares for coloring, enabling a unique mosaic-like expression. Jakuchū also excelled in ink painting, creating humorous works like ‘Vegetable Parinirvana.’ In printmaking, he used the ‘takuhanga’ technique to produce fantastical works such as ‘Jokoshu’ (Pleasurable Boat).”
Finally…
During his fifties, Jakuchū was appointed to the position of machi doshiyori at the Nishiki Market. I’m guessing this was similar to being the mayor of a small town, but I don’t know for sure. The market had been on the verge of dying out. Jakuchū worked tirelessly to save it and was successful in doing so. As a result of this work, his artistic output was much less than earlier years. During his fifties and sixties, Jakuchū produced prints and ink paintings. It wouldn’t be until he reached his seventies that he began to actually paint again. Around that time, he lost his home in the great Tenmei Fire. He then moved to Osaka to seek support from Kimura Kenkado, a cultural figure of the time. He continued to produce many large works. Near the end of his life, Jakuchū retired to Sekihōji Temple, a Manpuku-ji branch temple on the southern outskirts of Kyoto. While there, Jakuchū created 500 Rakan stone statues and continued to paint until his death at 85 on October 27, 1800. He is buried near the temple at Sekihōji Temple. Jakuchū also has a tomb, established earlier in his life, at Shokokuji Temple in Kyoto.
The artwork…
The artwork is ink on a hanging silk scroll. It measures 54 7/8 × 33 1/2 in. (139.38 × 85.09 cm); mounted: 89 × 41 in. (226.06 × 104.14 cm). The piece was created in Japan circa 1755 during the Edo Period. A gift of Etsuko and Joe Price, Mr. Price observed, “I saw this painting at a dealer’s shop at the same time as Mandarin Ducks amid Snow-Covered Reeds. I could not afford to buy both so I just bought Rooster, Hen, and Hydrangeas, since I already owned a similar painting to Mandarin Ducks. Though when I went home and looked at my version of the mandarin ducks, it was not nearly as good as the one I had just seen.” The art is in the collection of the Los Angeles County Museum of Art. But, there appears to be some discrepancy in whether the museum actually owns it. One resource reported it on permanent loan while another said the Prices had gifted it to the museum (but not several other pieces previously promised…source). In any event, the piece is not currently on display. Some quotes about our piece of art:
“Jakuchū undoubtedly was fascinated by chickens and roosters, as seen by his many depictions of fowl in his works. He studied them wholeheartedly, reportedly following them around for hours. This work epitomizes Jakuchū’s intense love for nature. Surrounded by roses and hydrangeas, a rooster flaunts his dramatic feathers in front of the shy hen he courts. Jakuchū intensifies the painting’s complex design through painstaking detail. The roses in the lower right corner are not painted over the hen or the foliage behind them. The lightest color of their petals is just the pure exposed silk of the scroll. Moreover, observe the rooster’s tail feathers; they are not painted over the deep blue hydrangeas. Again, the pure color of the silk shows through.”
“Painted meticulously with delicate brush strokes to depict every detail of the birds’ feathers and the flower petals, and lavishly colored with vibrant mineral pigments, the work is a painstaking and exquisite study of living creatures interacting with each other and with their natural environment. This refined, sumptuous style gained Jakuchū great acclaim in the Kyoto art world and established him as one of the nation’s most accomplished painters.“
“According to the modern-day neuroscientist Mogi Kennichiro, Jakuchu’s paintings are ‘pictures that bring pleasure to the brain, glorifying equally all forms of existence, and reveal to the viewer the essence of life. His paintings represent his determination to express the teachings that all forms of life possess the potential for enlightenment.’”
Sources…
My interpretation…
Way back in 2012 or 2013, Nigel and I traveled to New England in the fall for a couple of reasons…to look at the fall foliage and to visit the April Cornell flagship store. While there, I met April who is even more lovely than her clothing. I bought this tunic and a few other things on that visit. So, this isn’t quite vintage, but I’d say it’s getting there. I realize there aren’t any roosters on it, but I thought the overall feel and colors really do a good job of picking up the overall vibe of the art. I added a Gudrun Sjödén skirt (I call them slips) to add that much needed injection of blue/teal. I let Nigel pick the outfit for this art. I gave him four options, and he chose this one. I have several dresses and such with chrysanthemums which are similar to Jakuchū’s hydrangeas. Nigel liked this option best, and I have to agree with him due to the colors and overall feeling. You may also have noticed I’m wearing a wig today. I’m still learning the ropes of this particular skill and was fighting against it the whole time. I finally decided the outfit was more important than the hair!
The Lewk!
These are the Freya flats from Miz Mooz! When they went on super duper sale, I bought the black ones! I almost wish I had the red ones to pull more red into my interpretation. But, I think the black ones also work well in delineating the rooster’s feathers. I added the Buddha Stones Rose Quartz Green Aventurine Love Heart Beads Luck Necklace Pendant and Buddha Stones Natural Amazonite Bead Balance Necklace to honor Jakuchū’s Buddhism. Thank you to Katherine for the code. I can’t find it, or I’d share it with you here.
Wrap it up, Marsha!
I was so impressed with this self-taught artist whose work became a National Treasure of Japan. It’s so strange to me that I found him by googling obscure artists! But, when I went looking for information, there was a plethora out there. Perhaps, it’s not so much he’s obscure as he’s unknown in the Western World? I do love roosters and chickens. When my mom was a kid, she raised some kind of chickens that were really pretty (her words, not mine). I don’t know if they raised them as pets, for eggs, or for meat. I kinda think not for the meat as they raised cattle for that. One of those questions I should have asked, I guess. So, can we talk? Were you surprised Jakuchū was self-taught? Are you a fan of this kind of art? Have you been to Japan and, perhaps, seen some of his work? Please leave me a comment or two, and we can talk. I promise to respond as quickly as I can.
Don’t forget…
If you want to be included in the Style Imitating Art round up, send me your photo by 10:00 pm EST, Tuesday, August 11th, 2026. Photos of everyone participating will appear on my blog on Wednesday, August 12th! If you’re interested in joining us, consider all of your options…the colors, the textures, the feelings they evoke! Come on, give it a try! I think you’ll love it!
Thank you!
I want to thank all of you from the bottom of my heart for reading, commenting, subscribing or emailing! It truly means so much to me! If you’d like to follow me on Instagram, you can find me here.
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Where you can find me:
Linking up with Nancy’s Fashion Style, Fine-Whatever, Is This Mutton, Shelbee on the Edge, Chez Mireile, Suzy Turner, and Away from the Blue as well as Deb’s World . I also link up with I do deClaire, Mummabstylish, Style Splash and Elegantly Dressed and Stylish as well as the Senior Salon Pit Stop and Slices of Life. Please check out these wonderful ladies and their blogs! I also am a co-host for Ageless Style on the third Thursday of the month and Songful Style on the last Monday of the month as well as the Global Writing Challenge on the second Thursday. I now co-host Fashion Files with Amy at Coffee and Cocktails at the Casa every Tuesday. I co-host Traffic Jam Weekend every Thursday with Melynda, Lisa, Cat, and Rena. I also host 10 on the 10th on the 10th of the month! I do hope you’ll check out all of these blogs and link parties!