Kasho Takabatake (高畠華宵, TAKABATAKE Kasho) was one of the most popular illustrators for girls, boys, and women’s magazines from the Taisho period through the early pre-war Showa period (1910s-1930s). Along with Yumeji Takehisa, he is considered a leading figure in the Taisho Roman art movement. While Yumeji is best known for his lyrical style with a strong emphasis on emotion, Kasho is credited with creating the chic modern look that defined the style popular in 1920s Tokyo. Also, in contrast to Yumeji’s self-taught artistic style, Kasho was formally trained in Kyoto and Osaka, studying under some of the most prominent artists specializing in both Japanese (Nihonga) and Western (Yoga) painting techniques. This unique training in both Japanese and Western painting had a huge influence on his artistic style allowing him to elevate commercial art to the levels capable of competing with high art of the time. His numerous illustrations for leading Shojo magazines, like Shojo no Tomo and Shojo Gaho, helped to define the visual aesthetics associated with girl culture during that time.
Born and raised in Ehime Prefecture on the island of Shikoku, Kasho Takabatake moved to Kyoto in 1903 to study at the Kyoto City School of Arts and Crafts. Starting in the Meiji period, Japanese painting was divided into two categories, Nihonga and Yoga. Nihonga was the general term to mean traditional Japanese painting. This term originated during the Meiji period when a word was needed to distinguish Japanese painting from Western-style oil painting. In contrast, Yoga was the term for art employing using Western (European) artistic conventions, techniques, and materials. Generally, artists would study and become masters of one style. Kasho began his training in Nihonga. However, after just 2 years, feeling that Nihonga was too restrictive and wanting to explore something more modern he switched to Yoga and transferred to Kansai Academy of Art to study under Asai Chuu, who was at the forefront of Yoga at the time. During his time studying he was exposed to many current and trends in Western Art including Art Nouveau, Jugendstil, Pre-Raphaelites all of which would prove highly influential on his artistic style.
In 1906, Kasho moved to Tokyo and became a pupil of Kogyo Terasaki, a prominent painter in the Nihonga tradition. During his time studying under Kogyo, Kasho focused mostly on Bijinga and honed his techniques in illustrations of beautiful women. In 1908 he started doing illustrations for various publishing houses, however, was struggling to make a living with art. His first big break came through a series of advertisements he created for Chujoto, a popular tea made of Chinese medicinal herbs commissioned by Tsumura Pharmaceutical Company. This illustration, shown below with strong influences of Art Nouveau stood out amongst the mostly text based ads at the time and greatly increased brand awareness, of both the tea and Kasho himself. Over the next decade continued to produce advertisements for Tsumura with variations on his initial design and incorporating new techniques, often showing influence from Aubrey Beardsley. The success with Tsumara lead to many other jobs creating create ads for department stores and other products often targeted at women.
However, Takabatake’s biggest influence on kawaii culture was through his work in magazine illustration. Following his success with Tsumaru, Takabatake landed an exclusive contract with one of the major publishing houses, Kodansha Publishing company, in 1913 to illustrate several of their current publications. As opposed to Yumeji and other early kawaii illustrators, Takabatake was not limited to magazines targeted at girls and women, but also provided several illustrations for magazines targeted at boys. Due to a conflict with the Kodansha Publishing Company in 1924, he discontinued his exclusive contract and started working for other publications including Shojo no Tomo and Shojo Gaho. It was through his work in these publications that he became well-loved by many young girls, and along with Junichi Nakahara, helped to define the shojo artistic style of that period.
In addition to illustrators working for girl’s magazines, as Kasho’s popularity grew through his illustrations featured magazines like Shojo no Tomo, goods featuring Kasho’s lovely illustrations became quite popular. Various sundries and letter sets became quite popular, increasing his influence on girl culture.
With his extensive formal training in both Nihonga and Yoga, Kasho was able to pull on his training in both these traditions to create a unique style that matched well with the style of the day. This mix of art nouveau, art deco, and Jungestil along with his formal training in Nihongo created a unique mix of eastern and western techniques which epitomized the artistic movements popular in the Taisho period.
References:
- Passionate Friendship: The Aesthetics of Girl’s Culture in Japan, by Deborah M. Shamoon
- Kawaii!: Japan’s Culture of Cute, by Manami Okazaki and Geoff Johnson
