How did eighteenth-century intellectuals in Japan make sense of the natural world? They were presented with two diverging choices of approach. Either they could remain with the primarily Chinese worldview, representing the world according to the stylized rules of, e.g., bird and flower paintings and the often efficacious but occasionally fanciful notions of traditional
Chinese medicine, or they could embrace the Linnaean Western view and aspire to a more photo-representational approach in their paintings and other creative works, attempting to catalogue and record information through such heretofore purely artistic activities as painting. The late eighteenth century became a fascinating point in history where these two worldviews began to merge, ultimately into the Japanese practice of
honzōgaku. But this syncretic approach did not arise thanks to an exceptional few; instead, it came into being as a result of sophisticated networks of information (and collection) sharing. Thus, painters like Itō Jakuchū, when attempting an approach of greater verisimilitude in his depictions of the natural world, were only able to manage this because they were participants in wideranging networks of like-minded individuals. Standing behind the achievements of any one individual, then, is a powerful support network which literally informed any single person’s work.
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