"An Art History" in 1820 (Bunsei-Era) : An Essay on the Screen Pictures of Sangen-in, Daitoku-ji Temple

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Abstract:In this paper, I examined the "scheme" observed in the screen pictures of Sangen-in,Daitoku-ji temple. Conventionally, paintings other than ukiyo-e paintings, especially those byKyoto artists during the late premodern period have not been studied from this viewpoint, thoseworks will be interpreted.The wall pictures and sliding screens of the various subtemples that decorate Daitoku-ji(Murasakino,Kita-ku,Kyoto City) cover a wide range of times and schools;they stretch from theMuromachi to the late Edo, on to premodern, and from the Soga School to the Kano, theHasegawa,and the Unkoku. Of them, there are five rooms and 41 panels that contain the screenpictures of Sangen-in, Daitoku-ji temple in Sangen-in Hojo (the residence for the head priest)(the old Ryusho-ji Guest Hall). They are all ink paintings by Hara Zaichu (1750-1838), a majorfigure in Kyoto art circles.Zaichu learned from Chinese and old Japanese paintings and often diverted their designs forhis own paintings. This act of "imitation" or "diversion" has led to low evaluations of Zaichuʼspaintings from the standpoint of individuality and originality. In the case of the wall andsliding-door paintings of Sangen-in, some consider the "Tiger Picture" in the Shicchu room to bemerely an enlarged version of the "Dragon-and-Tiger Picture" by Mokkei (Muxi), which hastraditionally been passed down at Daitoku-ji temple. However, there seem to be some hiddenartistic scheme, which was not merely "a diversion of designs."For this reason,we first analyzed the screen pictures in every room to find out which originalsZaichu based his works upon and what styles he employed,and then examined the combinationsof the rooms to fully comprehend his scheme. As a result, the research clarified that Zaichu hadmade original works out of screen pictures by the Ami School,the Kano School,and painters ofrealism (the Maruyama School) by motif, subject, and technique for each room; the wholecomposition revealed an intent to "assort school-by-school characteristic features." One mayeven conclude that by 1820 at the age of 71, Zaichu reorganized those paintings into one largepiece of Hojo wall painting -- it can be said that most parts of it were produced at Daitoku-jisubtemples. That is why we would like to temporarily call it, "An Art History in 1820(Bunsei 3)."Although the existence of Zaichuʼs screen pictures has been well known, no sufficientresearch has been conducted. Thus, by accumulating analyses and studies,we will be closer tostarting to clarify some of the traits Japanese culture is supposed to contain such as "quotation," "parody" and "imitation."
北海道大学の論文

"An Art History" in 1820 (Bunsei-Era) : An Essay on the Screen Pictures of Sangen-in, Daitoku-ji Temple

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