@article{oai:tobunken.repo.nii.ac.jp:00006343,
 author = {鈴木, 廣之 and Suzuki, Hiroyuki},
 issue = {358},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Dec},
 note = {There are two primary reasons for discussing the Eight Views of the Xiao and Xiang Rivers in this brief essay. First, within this theme a diversity of forms of reception can be seen. The subject of the Eight Views was probably first brought to Japan at the end of the Kamakura period. Later, however, it was limited not only to painting and poetry, but became the subject matter of waka (Japanese verse) and designs for decorative arts as well. The second reason is there is rich documentation concerning the Eight Views in the milieu of the reception and production of paintings. The reception of the Eight Views reached its climax in the fifteenth century, and exemplifies the milieu of painting in the Muromachi period.
     In considering the milieu of fifteenth century paintings, the following should be noted: Chinese poems (shi) were composed based on the subject matter of screen paintings, transcribed on to individual shikishi (poem cards), and attached to the painted surface. The process of production was as follows: (1) an individual such as the shogun would function as a client; (2) eight Zen monks would be chosen to compose eight poems; (3) the Zen monks would compose the poems; (4) the monks would transcribe the poems on shikishi provided by the client; (5) the client would inspect the shikishi; (6) the completed shikishi would be attached to the screen painting. The replacement of Japanese waka with Chinese shi represents a continuation of the legacy of the Heian period court tradition of poetry based on screen paintings (shôji-uta or byôbu-uta). Also, the procedure for lining up the eight poems was decided first based on the rank of the temple (as the Five Mountain Zen temples were formally ranked) of the chief priests who composed the poems, and second based on their senioriry within each temple's respective patriarchy. Praises for the shogun's reign were artfully incorporated into the poems as well. There is certainly an element of the Muromachi shogun's construction of political authority in the authoritative discipline which has been observed in the process described above.
     There are no extant screen paintings the belonged to the fifteenth century Muromachi shoguns. The oldest known extant screen paintings of the Eight Views are the examples at the Daisen'in attributed to Sôami (1509) and at the Jukôin by Kano Shôei (1566). However, both examples are screen paintings in the Abbot's Quarters (hôjô) of
SUZUKI Hiroyuki Zen temples, and show no evidence of having had attached shikishi. The difference in the production setting from the fifteenth century example is clear. Nevertheless, in the Muromachi shogun's palace, the Daisen'in, and the Jukôin the order of arrangement of the Eight Views is extremely similar, and demonstrates the continuation into the sixteenth century of scrren painting traditions of the previous century.
     One more point to be noted is that several common motifs can be seen among Chinese shi poems, Japanese waka poems, and paintings about the Eight Views of the Xiao and Xiang Rivers. According to Chinese legend, when the Emperor Shun died, the tears of his weeping consort rained on bamboo, and marking it with spots, produced a variety of speckled bamboo. There are many exam ples of shi and waka of the Night Rain on Xiao and Xiang which draw on imagery from this legend. In painting also, there is an example of a Nigth Rain picture which symbolically incorporates the legend in its depiction of a bamboo thicket (plate 7). In the discourse of linked-verse (renga), poets would compose commentaries based on comparisons of monochromatic ink paintings of the Eight Views and linked-verse in order to perfect their art. it is thus apparent that the subject of the Eight Views served as an imaginative source for both the pictorial and literary arts of the Muromachi period.
     On one hand, it is imaginable that that very order existed within painting. There is an example of a set of four hanging scrolls with two views each by Kano Motonobu (plate 8 and 9). The four hanging scrolls include (A) Mountain Market, Clear with Rising Mist, (B) Fishing Village in Evening Glow, (C) Autumn Moon Over Lake Dongting, and (D) River and Sky in Evening Snow, corresponding to spring, summer, autumn, and winter, respectively. In this aspect, they are similar to the examples at the Daisen'in and the Jukoin, which group the same views with the same seasons. In the case of screen paintings, the directions of the mural surfaces corresponds to the seasons — East with spring, South with summer, West with autumn, North with winter — such that the Mountain Market, Clear with Rising Mist is situated in association with spring, and Fishing Village in Evening Glow with summer (see charts 4 & 5). From this information it can be surmised that the four hanging scrolls were conceived to be matched with the four seasons. In the many extant folding screens (byôbu) of the Eight Views, too, almost all examples pair Mountain Market with spring, and Fishing Village with summer. The special association of these two views with specific seasons cannot, however, be observed in either Chinese or Japanese poetry. In the tendency to pair four views with the four seasons and incorporate the seasons into the painted image, it is possible to interpret the ordered system of the paintings. 
     In paintings of the Eight Views of the Xiao and Xiang Rivers, in addition to investigating a particular system or order, it is also possible to imagine relationships with other media such as poetry and calligraphy. However, with the advent of the Edo period, it seems that milieu which favored the interaction of painting with other arts or genres diminished. In the case of Eight Views paintings, instead of the inscriber of the poem writing his own poem on the picture surface, there is a remarkably large number of examples with poems believed to be by the Southern Song painter-poet Yujian. Here the change in milieu can be imagined. Why was this subject so popular in the fifteenth century? The answer to this large problem cannot be given in this short essay, but it is clear that the subject matter of the Eight Views is a key point in understanding the question of the milieu of paintings in this period.},
 pages = {1--21},
 title = {瀟湘八景の受容と再生産―十五世紀を中心とした絵画の場―},
 year = {1993}
}