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Eight Views of the Xiao and Xiang

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Eight Views of the Xiao and Xiang 1 College of Arts at the University of Canterbury Art History and Theory in the School of Humanities ARTH 690 Masters Thesis Title of Thesis: The Eight Views: from its origin in the Xiao and Xiang rivers to Hiroshige. Jennifer Baker Senior Supervisor: Dr. Richard Bullen (University of Canterbury). Co-Supervisor: Dr. Rachel Payne (University of Canterbury). Thesis Start Registration Date: 01 March 2009. Thesis Completion Date: 28 February 2010. Word Count: 30, 889. 2 Abstract This thesis focuses upon the artistic and poetic subject of the Eight Views of the Xiao and Xiang, from its origin in the Xiao-Xiang region in the Hunan province of China throughout its dispersal in East Asian countries such as Korea and Japan. Certain aesthetics and iconography were retained from the early examples, throughout the Eight Views’ transformation from the eleventh to the nineteenth century. The subject‟s close associations with poetry, atmospheric phenomena and the context of exile were reflected in the imagery of the painting and the accompanying verses. This thesis will discuss the historic, geographic and poetic origins of the Eight Views, along with a thorough investigation into the artistic styles which various East Asian artists employed in their own interpretations of the series. Furthermore, the dispersal and diaspora of the subject throughout East Asia are also investigated in this thesis. The work of Japanese artist Andô Hiroshige will serve as the concluding apogee. The Eight Views of the Xiao and Xiang is an important East Asian artistic subject in both poetry and painting and contains many pervasive East Asian aesthetics. 3 Acknowledgements Firstly, I would like to thank both of my supervisors, Dr. Richard Bullen and Dr. Rachel Payne. Their comments and discussions assisted and clarified my research exceptionally. I would also like to thank Douglas Horrell, the Visual Resource Technician in the University of Canterbury‟s Art History and Theory Department for his assistance when sourcing several images for this thesis. Further visual resources were sourced from the Asian Art Collection at the Princeton University Art Museum, the Beinecke Rare Book and Manuscript Library at Yale University, the Fisher Fine Arts Library Image Collection at the University of Pennsylvania, The Cleveland Museum of Art in Cleveland, Ohio and the Metropolitan Museum of Art in New York. I am grateful to these institutions for their exemplary visual resource catalogues. The previous research upon this specific subject is scarce, as many volumes merely mention the existence of this series as part of a broad or general early Chinese or East Asian art text. However, there are three authors which I am unreservedly indebted to: Alfreda Murck, Patrick Stanley-Baker and Matthi Forrer. These art historians inspired and illuminated my research, for which I am grateful. Lastly and most importantly, I would also like to thank my father, Philip Baker and my twin sister, Hazel Baker for their kindness and support. A note to the reader: All Japanese, Chinese and Korean names are presented in the traditional order: family name followed by given name. All Chinese terms are spelled the modern pinyin method, as opposed to the former Wade-Giles method. 4 Contents Page Number List of Figures 6 Introduction 10 Chapter One 14 (i) Geographic and Historic Context 14 (ii) An Association with Exile 15 (iii) Creation: Song Di and Shen Gua 16 (iv) Poetic Influence: Du Fu 22 (v) Poetic Influence: Su Shi 30 (vi) Poetic Influence: Juefan Huihong 33 (vii) Earliest Extant Examples: Wang Hong 35 (viii) Important Theory: The Southern and Northern Schools 40 (ix) Important Theory: Transformation 44 (x) Conclusion 50 Chapter Two 51 (i) Introduction 51 (ii) Chinese Examples in Japan 51 (iii) Chinese Trade with Japan 54 (iv) Chinese Artist: Muqi 58 (v) Chinese Artist: Yujian 63 (vi) Aesthetic Analysis Yu-xuan/Yûgen 64 (vii) Japanese Examples 68 (viii) Other Japanese Artists 72 (ix) Japanese Artist: Kanô Tanyû 73 (x) Japanese Artist: Ikeno Taiga 75 (xi) Korean Examples 79 (xii) Korean Artist: An Kyon 82 (xiii) Other Korean Artists 86 (xiv) Japanese Artists in Korea 88 (xv) Conclusion 90 Chapter Three 93 (i) The Transformation of the Eight Views in Japan 93 (ii) Early Example: Yamamoto Soken 98 (iii) Andô Hiroshige 102 (iv) Education 104 (v) Atmospheric Techniques 108 (vi) Hiroshige’s Eight Views of Ômi (Ômi hakkei no uchi) 110 Conclusion 131 Appendices 135 5 Bibliography 144 Figures 152 6 List of Figures Wang Hong – Eight Views of the Xiao and Xiang (c. 1160) Fig. 1. Wild Geese Descending to Sandbar Fig. 2. Returning Sails from Distant Shore Fig. 3. Mountain Market in Clearing Mist Fig. 4. Fishing Village in Evening Glow Fig. 5. Night Rain on Xiao Xiang Fig. 6. Autumn Moon over Lake Dongting Fig. 7. Evening Bell from Mist-Shrouded Temple Fig. 8. River and Sky in Evening Snow Image Source: Asian Art Collection at the Princeton University Art Museum http://etcweb.princeton.edu/asianart/selectionsdetail.jsp?ctry=China&pd=&id=1035437 Muqi – Eight Views of the Xiao and Xiang (thirteenth century) Fig. 9. Fishing Village in Evening Glow Fig. 10. Wild Geese Descending to Sandbar Fig. 11. Returning Sails from Distant Shore Fig. 12. Evening Bell from Mist-Shrouded Temple Fig. 13. Night Rain on Xiao Xiang Fig. 14. Autumn Moon over Lake Dongting Fig. 15. River and Sky in Evening Snow Image Source: Former School of Fine Arts Library, University of Canterbury. Yujian – Eight Views of the Xiao and Xiang (thirteenth century) Fig. 16: Mountain Market in Clearing Mist Image Source: Lee, Sherman E., A History of Far Eastern Art, Fifth Edition, Thames and Hudson, London, 1997, p. 382. Fig. 17. Returning Sails from Distant Shore Image Source: Loehr, Max, The Great Painters of China, Phaidon Press, Oxford, 1980, p. 227. Fig. 18. Shûbun – Eight Views of the Xiao and Xiang Folding Screen (fifteenth century) First Panel: Evening Bell from Mist-Shrouded Temple Second Panel: River and Sky in Evening Snow Third Panel: Mountain Market in Clearing Mist Fourth Panel: Returning Sails from Distant Shore and Wild Geese Descending to Sandbar Fifth Panel: Night Rain on Xiao Xiang Sixth Panel: Autumn Moon over Lake Dongting and Fishing Village in Evening Glow Image source: Fisher Fine Arts Library Image Collection, University of Pennsylvania http://dla.library.upenn.edu/dla/fisher/detail.html?id=FISHER_n2005030303 Kanô Tanyû – Eight Views of the Xiao and Xiang Handscroll (seventeenth century) Fig. 19. River and Sky in Evening Snow Fig. 20. Night Rain on Xiao Xiang Fig. 21. Evening Bell from Mist-Shrouded Temple Fig. 22. Returning Sails from Distant Shore Fig. 23. Wild Geese Descending to Sandbar 7 Fig. 24. Autumn Moon over Lake Dongting Fig. 25. Fishing Village in Evening Glow Image Source: The Cleveland Museum of Art, Cleveland, Ohio. http://www.clemusart.com/Explore/artistwork.asp?creatorid=9575&recNo=0&woRec No=0&view=more Fig. 26. Ikeno Taiga – Eight Views of the Xiao and Xiang Folding Screen (c. 1760s) First Panel: Returning Sails from Distant Shore (top) and Night Rain on Xiao Xiang (bottom, moving into second panel) Second Panel: Fishing Village in Evening Glow Third Panel: Autumn Moon over Lake Dongting (top) and Wild Geese Descending to Sandbar (bottom) Fourth Panel: Mountain Market in Clearing Mist Fifth Panel: Evening Bell from Mist-Shrouded Temple Sixth Panel: River and Sky in Evening Snow Image Source: Fisher, Felice and Kinoshita, Kyoka (eds.), Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush, Philadelphia Museum of Art, Philadelphia, 2007, pp. 326-327. Ikeno Taiga – Eight Views of the Xiao and Xiang Mounted Fans (c. 1770) Fig. 27. Night Rain on Xiao Xiang with accompanying poetry by Wu Su (1280-1354). Fig. 28. Returning Sails from Distant Shore with accompanying poetry by Gu Songren (1620-1664). Fig. 29. Wild Geese Descending to Sandbar with accompanying poetry by Dang Huaiying (1134-1211). Fig. 30. Autumn Moon over Lake Dongting with accompanying poetry by Bao Xun (fourteenth century). Fig. 31. River and Sky in Evening Snow with accompanying poetry by Dong Qichang (1555-1636). Fig. 32. Mountain Market in Clearing Mist with accompanying poetry by an unknown poet, originally inscribed on a landscape by Wu Zhishun (fourteenth century). Fig. 33. Evening Bell from Mist-Shrouded Temple with accompanying poetry by Wang Shixi (thirteenth century). Fig. 34. Fishing Village in Evening Glow with accompanying poetry by Wu Su. The accompanying poems‟ calligraphy was transcribed by the artist, Ikeno Taiga. Image Source: Fisher, Felice and Kinoshita, Kyoka (eds.), Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush, Philadelphia Museum of Art, Philadelphia, 2007, pp. 364-365. An Kyon – Eight Views of the Xiao and Xiang (fifteenth century) Fig. 35. Evening Bell from Mist-Shrouded Temple (left) and Autumn Moon over Lake Dongting (right). Image Source: Metropolitan Museum of Art, New York. http://www.cartage.org.lb/en/themes/arts/scultpureplastic/AsianSculpture/MoreDepart mentCollection/as19871.jpg An Kyon – Eight Views of the Xiao and Xiang (fifteenth century) Fig. 36. Mountain Market in Clearing Mist (top left) and Evening Bell from Mist- Shrouded Temple (top right) 8 Fig 37. Returning Sails from Distant Shore (bottom left) and Fishing Village in Evening Glow (bottom right) Fig. 38. Night Rain on Xiao Xiang (top left) and Autumn Moon over Lake Dongting (top right) Fig. 39. Wild Geese Descending to Sandbar (bottom left) and River and Sky in Evening Snow (bottom right) Image Source: National Museum of Korea, Seoul. Image Source: Dongju, Lee, The Beauty of Old Korean Paintings: A History and An Appreciation, Saffron Books, Seoul, 2005, pp. 70-71. Lee Jeong – Four Seasons in Eight Scenes (late fifteenth century) Fig. 40. Late Spring, Green Mountain, Blue Water (left) and Late Autumn, Red Mountain, Yellow Field (right) Image Source: Dongju, Lee, The Beauty of Old Korean Paintings: A History and An Appreciation, Saffron Books, Seoul, 2005, p.
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