Landscape of Suzuka by Maruyama Okyo was created in 1781 on silk with colour and ink. The painting was used as a hanging scroll.
Maruyama Okyo in his paintings follows a distinctive philosophy, Shasei (drawing from life) while maintaining the Japanese aesthetic and Chinese Classic techniques with influence of the western naturalism. Maruyama Okyo was famous for adding the western influence in the traditional Japanese art during the time of Tokugawa Shogunate, where kano school artists were the court painters of the Edo period in Japan.
The painting demonstrates Maruyama Okyo's belief in Shasei that painting should be made from life.
Landscape of Suzuka is the perfect example of it as it features mountains, trees, misty weather with clarity yet keeping the softness and serenity of the artwork. Furthermore the use of empty space allows viewers to experience distance and gradual unfolding of the scene.
This combination of realism with restrained form and technique led to the foundation of Maruyama School of Art.
Unlike the artists of the late eighteenth Century, Maruyama Okyo was the pioneer of the naturalistic style of art in Japan. Landscape of Suzuka was created through the observation of the physical world with traditional Chinese techniques. Landscape of Suzuka is a balanced piece of art with refined brushwork. The artwork is currently housed by the Metropolitan Museum of Art.
The landscape of Suzuki Maruyama Okyo seems not just a depiction of nature, but an attempt to capture its state - the way the air connects distance and proximity. A hill or mountain here often acts as a soft frame for the composition: they do not press, but direct the eye, creating a sense of depth. Okyo’s lines are usually expressive and at the same time subtly “careful” - he knows how to make the contours alive without destroying the integrity of the form.
The work with light and atmosphere is especially impressive. Trees and bushes are perceived as part of the breath of the landscape: branches not only indicate vegetation, but also convey the direction of the wind, the coldness of the morning air or the calm silence of the evening. Sometimes it seems that distant plans seem to be shrouded in haze - because of this, the world becomes quieter and more fragile, and not just visually extended.
As a result, the landscape is read as a moment of contemplation: nature here is harmonious, but not “ideal”, it is full of natural transitions and mood. This is not so much a story about a specific place, but about how a person feels the space around.