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Composition of scenery in Japanese pre-modern gardens and the three distances of Guo Xi

2013; Taylor & Francis; Volume: 33; Issue: 1 Linguagem: Inglês

10.1080/02666286.2012.753189

1943-2186

Wybe Kuitert,

Landscape and Cultural Studies

Click to increase image sizeClick to decrease image size Notes 1. Guo Xi's Lin-quan gao-zhi ji: full text in Chinese: 林泉高致集(全文)http://www.wretch.cc/blog/koseaan/13366260 柯詩安 ko.sean National Taiwan University, Retrieved January 2012. A translation in Dutch with comment is: Jan Poortenaar, Het Chineesche landschap: een verhandeling uit de elfde eeuw door Kwo Sji. Met een beschouwing over den Soeng-tijd door L. Cranmer-Byng. Ingeleid en uit de overzetting van Dr. Shio Sakanishi vertaald door Jan Poortenaar (Antwerpen: De Sikkel, c. 1936). Short bibliography (p. 337) on this text in Stanley Murashige, 'Rhythm, Order, Change, and Nature in Guo Xi's Early Spring', Monumenta Serica: Journal of Oriental Studies, 43, 1995, pp. 337–362. 2. Translated from the Chinese text edition of the National Taiwan University checking with Poortenaar (c. 1936), pp. 84–85. 3. The painting reproduced here from: Guoli Gugong Bowuyuan Bianji Weiyuanhui (ed.) Gugong zanghua daxi (A Panorama of Paintings in the Collection of the National Palace Museum), Vol. 1 (Taipei: Guoli Gugong Bowuyuan, 1993). This source gives my figure 1 and figure 2 in reproduction. Figures 3, 4 and 5 of this paper are my cropping. 4. A supposed S curve and many other things are assigned to Guo Xi's Early Spring in Murashige (1995), pp. 337–362. Actually Guo Xi's text is very clear, and such speculative interpretations do not seem to offer much to heighten appreciation of the painting. 5. Jieziyuan huazhuan: reprint with comment in Japanese: Uehara Keiji (ed.) Kaisetsu kaishien juseki gafu (Tokyo: Kashima Shoten, 1971) and Kaisetsu kaishien fūkei gafu (Tokyo: Kashima Shoten, 1973). Figures for this paper taken from a Korean edition: Gaejawon hwajeon (Jieziyuan huazhuan) (Seoul: Woonlim Pilbang, 1987). A translation in French is: KIAI-TSEU-YUAN HOUA TCHOUAN [Jieziyuan huazhuan], Les Enseignements de la Peinture du Jardin grand comme un Grain de Moutarde. Encyclopédie de la peinture chinoise. Traduction et commentaires par Raphaël Petrucci. (Paris: Henri Laurens, 1910; facs. Paris: Librairie You-Feng, 2000). Édition en ligne Université du Québec à Chicoutimi. 6. See Kohara Hironobu, Chūgoku garon no kenkyū (Tokyo: Chūō Kōron Bijutsu Shuppan, 2006), pp. 339–400, for an extensive bibliography. Numerous editions and copy-editions exist all over eastern Asia, where it continues to inspire lovers of landscape painting. Later editions typically have volumes added to the three original ones. 7. See Kohara (2006), p. 363. 8. See Wybe Kuitert, Themes in the History of Japanese Garden Art (Honolulu: Hawai'i University Press, 2002), pp. 77–83. 9. Kuitert (2002), pp. 118–123. A transcription of this handwritten manual Sansui narabini yakeizu (see note below) including comparative research on related copies is: Egami Yasushi, 'Dōji kudensho tsuki sansui narabini yakeizu – kōkan jō', Bijutsu kenkyū, 247, 1966, pp. 32–41, and 'Dōji kudensho tsuki sansui narabini yakeizu – kōkan ge', Bijutsu kenkyū, 250, 1967, pp. 22–40. 10. Wybe Kuitert, Gardens and Landscapes in Japan – 1650–1950 (Philadelphia: University of Pennsylvania Press, forthcoming, 2013), Chapter 2. Figure 11 is taken from one of these picture books. 11. Kuitert (2002), pp. 95–98. 12. Ozeki Nanzan (ed.), Jikō-in (Nara: Jikō-in, 1987; re-ed. 1994), pp. 1–3; and Kuitert (2002), pp. 177–178. 13. Ozeki (re-ed. 1994), pp. 5–9. 14. Kuitert, Gardens and Landscapes in Japan – 1650–1950 (forthcoming, 2013) at the discussion on Akisato Ritōken's Tamagawa style garden. 15. Wybe Kuitert, 'Jiejing Zhongguo "yuanye" (1634) lilunyu 17 shiji riben zaoyuan yishu shijian' (Borrowed scenery: theory in Yuanye 1634 and practice in seventeenth-century Japanese garden art), Zhongguo Yuanlin, V.24/150, 2008, pp. 01–06. Yuanye praises such things as a prospect of a valley from a high terrace, and reworking topography by earth works to improve the effect of the view. 16. The visitor was Hōrin Shōshō (1593–1668) leaving eight poems behind at his stay in 1667. It was a set of so called hakkei, 'eight-scenes' verses in Chinese (kanshi). Gyokushū Sōban (1600–1668), a priest in charge for Sekishū of the temple behind the latter's retreat, replied with a set of eight poems on the same themes; quoted in Ozeki (re-ed. 1994), pp. 22–23. Chinese verses (kanshi) were often added to landscape paintings too. 17. Kojiki (chū) reprint in Nihon koten bungaku taikei 1 (Tokyo: Iwanami Shoten, 1960s), p. 220, and footnote 11, p 221; and Nihonshoki (jō) reprint in Nihon koten bungaku taikei 67 (Tokyo: Iwanami Shoten, 1960s), p. 292, and footnote 15, p. 293. Both are classics from the early eighth century and introduce the idea of the Nara valley enclosed by hills as a green hedge.