@article{oai:tobunken.repo.nii.ac.jp:00006016,
 author = {石, 守謙 and 植松, 瑞希 and Shih, Shou-chien and Uematsu, Mizuki},
 issue = {402},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Feb},
 note = {Xia Wenyan's The Precious Mirror of Painting is taken as the focus of this study for its prominent position in the historical Sino-Japanese context. Published in 1366 and brought to Japan no later than the early 15th century, it is a concise, but complete description of the history of Chinese painting, offering 1,478 biographies of painters from the 3rd to the 14th century. Despite recognizing the great popularity it has enjoyed since its first publication, traditional Chinese scholars have revealed a quite negative attitude toward The Precious Mirror of Painting in criticizing the unsystematic manner of its compilation and the irresponsible appropriation in its handling of earlier sources. However, its historical significance as the first reference book on the history of Chinese painting is still worth noting.
     Despite its shortcomings in compilation, The Precious Mirror of Painting does make considerable contributions in providing useful art-historical knowledge, particularly in its sections on the Southern Song and Yuan painters. This paper especially focuses on Xia Wenyan's distinctive emphasis on artistic genealogy in carefully enumerating an artist's models and teachers. His writing is the first among contemporary critical works in giving Li Tang the highest evaluation among Song academy painters and assertively proclaiming Xia Gui to be the most important follower of Li. The establishment of this Li Tang Xia Gui lineage and the high praises that came along with it must have generated a new wave of interest among the readers of The Precious Mirror of Painting toward this group of painters. It is within this context that many landscape paintings of Li-Xia style
were brought back to Japan. Among them, the pair of Landscape by Li Tang in the Kôtô-in Temple collection is the most famous.
     The Precious Mirror of Painting also offers an intriguing description of the genealogy of painters depicting “cloudy mountains.” Painters such as Mi Youren and Gao Kegong are substantially presented in the text as modern art historians would expected, but most interestingly, the monk Yujian is also included in this group and given the most detailed treatment regarding his artistic accomplishment. As a keen observer of the contemporary art circle, Xia Wenyan apparently noticed the popularity of the subject matter in the field and felt a need to offer a framework to explain its historical development.
     In addition to this, Sesshû's acquaintance with the text of The Precious Mirror of Painting is also discussed in the paper. As a non-Chinese painter, Sesshủ showed a surprisingly high degree of interest in Xia's “cloudy mountain” genealogy and apparently paid special attention to the biography of Yujian. Although one can never understanding what Sesshû actually learned through his emulation of Chinese models available to him, his concept of ink painting, his sense of painting history and his act of constructing an artistic genealogy for himself are basically derived from Xia's text. Viewed from this perspective, we could argue that the text of The Precious Mirror of Painting not only set a fundamental guideline for Japanese responses toward ink painting but also functioned as an effective channel connecting China and Japan together in the 15th century.},
 pages = {1--37},
 title = {夏文彦から雪舟へ―『図絵宝鑑』と、十四・十五世紀東アジアにおける山水画の歴史的理解の形成―},
 year = {2011}
}