Yūgen (幽玄) Resonance in Uemura Shōen’s Paintings

Capturing Yūgen in Classical Imagery

Historically, countless cultural elements and ideas have been introduced to Japan from China, a country with deep historical ties to Japan. The theme of today’s article, “Yūgen (幽玄)”, is one such concept. The concept itself originates from China, specifically from classical Chinese literature and Taoist philosophy. However, once introduced to Japan, Yūgen developed into a uniquely Japanese aesthetic, deepening within the Japanese cultural context. In brief, Yūgen denotes a beauty of subtle profundity or lingering elegance, expressed not by directly depicting something but rather by suggesting or hinting at it. This concept transcends mere practicality, evolving into a central ideal within classical Japanese arts, most notably Nōgaku (能楽, Noh theatre).

One figure who masterfully expressed the aesthetics of Yūgen in Japanese painting was Uemura Shōen (上村松園, 1875–1949), an eminent Japanese-style painter active from the Meiji to Shōwa eras. Shōen is renowned as a representative female painter of the modern Kyoto art scene, dedicating her entire life to creating refined Bijinga (美人画, portraits of beautiful women) using traditional techniques. Personally, I regard her as a pivotal artist who committed wholeheartedly to embodying the beauty of Yūgen in her paintings.

Historically, the establishment of Yūgen as the ultimate ideal of beauty began with Zeami (世阿弥, 1363–1443), Japan’s legendary and greatest Nōgaku performer. Shōen herself had a deep interest in Noh theatre, stating during her lifetime, she remarked,

「謡曲（能の詞章）をやっていますと、身も心も涼風に洗われたように洗浄になってゆく自分を感じるのであります」: “When I practice chanting Noh verses (Yōkyoku, 謡曲), I feel my mind and body purified as if cleansed by a cool breeze.”

and

「謡曲に描かれている事象すべてはこれ絵の題材と言っていいくらいでしょう」: “Everything depicted in Noh verses can be considered material for painting.”

In other words, she saw every Noh story and scene as potential subjects for her art, becoming the first painter to actively incorporate these elements into her creative process. Thus, an understanding of Shōen’s aesthetics is incomplete without recognizing how deeply her artistic vision was influenced by the Yūgen beauty derived from Noh theatre. Indeed, many of her works draw inspiration directly from Noh themes. Representative examples include “Honō (焔),” “Jo no Mai (序の舞),” and “Sōshi Arai Komachi (草紙洗小町),” each embodying a profound spirit of Yūgen, the quintessence of Japanese aesthetic consciousness, drawing viewers into the ambiguous boundary between life and death. Whenever I gaze upon Shōen’s works, I feel as if I’ve been transported to a world between life and death of the Heian era—a realm I’ve never experienced.