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The present-day mounting contains two landscape handscrolls, Six Perspectives and Images of Shizhui (試錐図) (also known as Four Chinese Sages). They were mounted as a paper-mount handscroll with the paintings themselves accompanied by title cartouches and colophons. This handscroll was owned by Murayama Ryôhei (gô: Kosetsu, 1850-1933), the art aficionado who founded the Asahi Shimbun and took on the operations of the art magazine, Kokka. As such this scroll was published in Kokka No. 150 in 1902 (Meiji 35) under the caption “Landscape Handscroll by Ikeno Taigadô” (池野大雅堂筆 山水画巻), which was one of the earliest introductions of Taiga’s work in Kokka. Taiga’s inscription at the end of the scroll indicates that he presented the scroll to the Osaka connoisseur Kimura Kenkadô (1736-1802). The inscription is further accompanied by colophon inscriptions written by Kenkadô’s friends and colleagues, particularly those affiliated with the Kontonsha literary society. These factors all make this scroll useful for gaining an understanding of how literati art appreciation worked during that period.\n This article presents basic literati painting research data on the Landscapes in Six Perspectives / Four Chinese Sages scroll, namely explication of format and style, the scroll’s painting subjects, and interpretations of its inscriptions and colophons. The information gained from this process indicates that the scroll was intentionally structured in its current form.\n Taiga created the Landscapes in Six Perspectives paintings to depict and interpret six types of perspectival methods that the 12th century (late Northern Song dynasty) author Han Zhuo described in the “Lunshan” (論山) chapter of his book on landscape painting theories. While this “six perspectives” painting subject did not exist in China, Japanese literati sought out paintings like this scroll as a means of understanding Chinese painting methods. Taiga ended his inscription on the “Mystical Distance” (幽遠) image with the phrase “as noted by Han Zhuo” (韓純全識), thus indicating his knowledge of and basis in Han Zhuo’s theories. In fact, as indicated in the colophon by Oka Genpo, Taiga based his ideas on Li Yu’s preface for the first edition (1679, Kangxi 18) of the Mustard Seed Garden Painting Manual. For the three distances explained by Guo Xi, Taiga developed his paintings by interpreted that book’s “painting manual” motifs and the painting theory complementing them. For the three distances explained by Han Zhuo, he depicted them as paintings reflecting Li Yu’s “true landscapes” of scenes the viewer could actually wander through. After Taiga created this Six Perspectives painting theme, it became a standard repertory item for Japanese literati paintings. The inscriptions on this handscroll fully reveal Taiga’s active enjoyment of natural settings and his repeated climbing of Mt. Fuji. Thus we can see that he actually practiced Li Yu’s philosophy, and it can be surmised that the Six Perspectives were painted in the autumn of 1761 (Hôreki 11) given their stylistic similarities to True View of Mt. Asama that Taiga painted on the basis of sketches made as a mountain climbing diary.\n Images of Shizhui (試錐図) is also called Four Chinese Sages given its depiction of landscapes of the four seasons accompanied by images of literati activities such as seeking seclusion and visiting a friend. While the source text for Images of Shizhui (試錐図) is unknown, we can surmise that it was painted in the style of the Zhuihuachao (錐画沙) which praises how Wang Xizhi wielded his brush. I clarified that each of the painting themes is clearly drawn from the then most recent collection of Wei and Jin literati anecdotes, the Shishuoxinyubu (世説新語補). In detail: painting 1 is Wang Xizhi at the Orchid Pavilion Gathering; painting 2 is Wang Huizhi Admiring Bamboo; painting 3 is Lin Bu Living in Seclusion and painting 4 is Wang Huizhi Visiting a Friend. I further indicated that if we can consider painting 3 as a conflation of Lin Bu and Tao Yuanming imagery, then it would reveal the longing that Japanese literati felt for Eastern Jin figures, and thus reflects the philosophy of the Ancient Rhetoric School (古文辞派) of Taiga’s period. I indicated that Kenkadô’s library may have included the Shishuoxinyubu (世説新語補). We can also read an “imitating the ancients”philosophy in the “after the style of Li Gonglin” (倣李公麟之筆) ink inscription on painting 1. In terms of the painting methods used in painting 1, Taiga imitated the sharp ink lines of Li Gonglin who was adept at monochrome line drawing, but I indicate that the painting clearly shows his familiarity with piercing, awl-like brush methods. \n This scroll, which dates to around Taiga’s 39th year, can be seen as a step on the way to his creation at the age of 49 of two masterpieces, namely, the Red Cliff at Lake Dongting Handscroll and the Ten Conveniences, depicting the activities of a literati figure. This painting and these two masterpieces are all instances of Taiga being inspired by printed imagery and then depicting the literati landscape works that both he and Kenkadô dreamed of. 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池大雅の山水画考―「六遠図・試錐図巻」(香雪美術館蔵)を読む
https://doi.org/10.18953/00009063
https://doi.org/10.18953/000090639bf411d7-ccd4-4daf-86c1-15f046d022be
名前 / ファイル | ライセンス | アクション |
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434_1_Yoshida_Redacted (1.3 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2023-08-31 | |||||
タイトル | ||||||
タイトル | 池大雅の山水画考―「六遠図・試錐図巻」(香雪美術館蔵)を読む | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Thoughts on Ikeno Taiga’s Landscape Paintings: Reading the Landscapes in Six Perspectives/Four Chinese Sages Handscroll | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
ID登録 | ||||||
ID登録 | 10.18953/00009063 | |||||
ID登録タイプ | JaLC | |||||
著者 |
吉田, 恵理
× 吉田, 恵理× Yoshida, Eri |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Ikeno Taiga’s Landscapes in Six Perspectives/Four Chinese Sages Handscroll is a small handscroll measuring 18.5 cm in height with an overall length of 427.7 cm. The present-day mounting contains two landscape handscrolls, Six Perspectives and Images of Shizhui (試錐図) (also known as Four Chinese Sages). They were mounted as a paper-mount handscroll with the paintings themselves accompanied by title cartouches and colophons. This handscroll was owned by Murayama Ryôhei (gô: Kosetsu, 1850-1933), the art aficionado who founded the Asahi Shimbun and took on the operations of the art magazine, Kokka. As such this scroll was published in Kokka No. 150 in 1902 (Meiji 35) under the caption “Landscape Handscroll by Ikeno Taigadô” (池野大雅堂筆 山水画巻), which was one of the earliest introductions of Taiga’s work in Kokka. Taiga’s inscription at the end of the scroll indicates that he presented the scroll to the Osaka connoisseur Kimura Kenkadô (1736-1802). The inscription is further accompanied by colophon inscriptions written by Kenkadô’s friends and colleagues, particularly those affiliated with the Kontonsha literary society. These factors all make this scroll useful for gaining an understanding of how literati art appreciation worked during that period. This article presents basic literati painting research data on the Landscapes in Six Perspectives / Four Chinese Sages scroll, namely explication of format and style, the scroll’s painting subjects, and interpretations of its inscriptions and colophons. The information gained from this process indicates that the scroll was intentionally structured in its current form. Taiga created the Landscapes in Six Perspectives paintings to depict and interpret six types of perspectival methods that the 12th century (late Northern Song dynasty) author Han Zhuo described in the “Lunshan” (論山) chapter of his book on landscape painting theories. While this “six perspectives” painting subject did not exist in China, Japanese literati sought out paintings like this scroll as a means of understanding Chinese painting methods. Taiga ended his inscription on the “Mystical Distance” (幽遠) image with the phrase “as noted by Han Zhuo” (韓純全識), thus indicating his knowledge of and basis in Han Zhuo’s theories. In fact, as indicated in the colophon by Oka Genpo, Taiga based his ideas on Li Yu’s preface for the first edition (1679, Kangxi 18) of the Mustard Seed Garden Painting Manual. For the three distances explained by Guo Xi, Taiga developed his paintings by interpreted that book’s “painting manual” motifs and the painting theory complementing them. For the three distances explained by Han Zhuo, he depicted them as paintings reflecting Li Yu’s “true landscapes” of scenes the viewer could actually wander through. After Taiga created this Six Perspectives painting theme, it became a standard repertory item for Japanese literati paintings. The inscriptions on this handscroll fully reveal Taiga’s active enjoyment of natural settings and his repeated climbing of Mt. Fuji. Thus we can see that he actually practiced Li Yu’s philosophy, and it can be surmised that the Six Perspectives were painted in the autumn of 1761 (Hôreki 11) given their stylistic similarities to True View of Mt. Asama that Taiga painted on the basis of sketches made as a mountain climbing diary. Images of Shizhui (試錐図) is also called Four Chinese Sages given its depiction of landscapes of the four seasons accompanied by images of literati activities such as seeking seclusion and visiting a friend. While the source text for Images of Shizhui (試錐図) is unknown, we can surmise that it was painted in the style of the Zhuihuachao (錐画沙) which praises how Wang Xizhi wielded his brush. I clarified that each of the painting themes is clearly drawn from the then most recent collection of Wei and Jin literati anecdotes, the Shishuoxinyubu (世説新語補). In detail: painting 1 is Wang Xizhi at the Orchid Pavilion Gathering; painting 2 is Wang Huizhi Admiring Bamboo; painting 3 is Lin Bu Living in Seclusion and painting 4 is Wang Huizhi Visiting a Friend. I further indicated that if we can consider painting 3 as a conflation of Lin Bu and Tao Yuanming imagery, then it would reveal the longing that Japanese literati felt for Eastern Jin figures, and thus reflects the philosophy of the Ancient Rhetoric School (古文辞派) of Taiga’s period. I indicated that Kenkadô’s library may have included the Shishuoxinyubu (世説新語補). We can also read an “imitating the ancients”philosophy in the “after the style of Li Gonglin” (倣李公麟之筆) ink inscription on painting 1. In terms of the painting methods used in painting 1, Taiga imitated the sharp ink lines of Li Gonglin who was adept at monochrome line drawing, but I indicate that the painting clearly shows his familiarity with piercing, awl-like brush methods. This scroll, which dates to around Taiga’s 39th year, can be seen as a step on the way to his creation at the age of 49 of two masterpieces, namely, the Red Cliff at Lake Dongting Handscroll and the Ten Conveniences, depicting the activities of a literati figure. This painting and these two masterpieces are all instances of Taiga being inspired by printed imagery and then depicting the literati landscape works that both he and Kenkadô dreamed of. Thus, we can say that this scroll was created from the passionate curiosity of these two men who both longed for the culture of Chinese literati gentlemen. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 434, p. 1-34, 発行日 2021-08-30 |