Signed: right screen: Kasho Seals: Zen Shin So Ba Ho Kyu Ko Ike Mumei In Kasho Inscription on the first panel of the right screen: The thousand-foot white cliff is split The red walls of four mountains open The dragon pond shoots and spits in the middle Day and night it produces wind and thunder One can also see the cascading water fall Resembling the gathering of the Milky Way. Composed by Li Po (Chinese, 701-762), "Requesting Ts'ui Shan-jen's Painting of the Waterfall at the Thousand-foot Cliff.
Signed: right screen: Kasho; left screen: Kyuka Sansho sha; Seals: Zen Shin So Ba Ho Kyu Ko Ike Mumei In Kasho Inscription: Roaming the hills and scattered streams with a book of poems. Viewing the moon and searching for flowers while grasping a wine cup. The Six Concerns exhaust my thoughts; I wish you were my companion. When will you return to Lo-yang? Composed by Po Chü-i (772-843) entitled "Remembering Hui-shu."
Image of a green mountain range that snakes from the lower right of the image to the upper right. The lower right of the image is further embellished with several detailed trees. Slightly lower and to the left of center is a small hut with a white figure standing on the porch.
A part of a pair created by Matsubayashi Keigetsu meant to present the dramatic contrast of summer and winter landscapes. Under the deep blue-green foliage of the summer landscape, a scholar bends his ear to the sound of a rushing stream and gazes out from his hut at the surrounding mist—the promise of more rain to come.
Keigetsu’s romantic idealization of nature draws on centuries of tradition of literati painting in both China and Japan. For scholars and other members of the intelligentsia, nature was a place of psychic refuge—even if only approached through armchair travel.
An ink drawing of bare trees during a winter scene. Snow-covered mountains dominate the background. In the foreground among the trees is a person walking along a path towards what looks like a house with a thatched roof.
An idealized view of nature created by an amateur scholar-artist depicting a dramatic winter landscape. High snow covered mountains and tall bare trees surround the loan traveler walking through the forest
Horizontally oriented. Begins with two large characters then a series of folliage imagery proceeded by calligraphy. Ink on paper, hand scroll.
Unge was a native of Kumamoto in Ky?sh?, the westernmost of the Japanese islands. Born into a family of Buddhist priests, he was sent to Kyoto to study as a young man. He settled into a comfortable life as a monk scholar, and became close friends with many of the leading literati painters trained in the Chinese style as well as a highly skilled calligrapher of his day. Those friendships are documented in this important handscroll. Unge painted five clusters of orchids in this scroll, only one of which is visible in this short section. Shinozaki Sh?chiku, a well-known Confucian scholar and calligrapher brushed the title sheet that opens the scroll, while six other artists added comments at the end. Text and image are inextricably woven together, recording stimulus and response as an ongoing exchange between friends.
The materiality of the handscroll is intricately tied to its intended use. For example, the handscroll is meant to be unrolled and then rerolled slowly from right to left. This way of reading the handscroll gives the author(s) great control over how the intended viewer or viewers are presented with the art and calligraphy. Naturally, this authorial control has a considerable impact on the way in which it is read and appreciated. Additionally, since the work is executed on paper rather than silk, this suggests a more humble origin. This is further supported by the haphazard sizes of individual sheets of paper that are glued together. A more official or imperial handscroll would have uniform pieces of silk, which provides important clues to the provenance of pieces such as this one.
Signed: Buson (center), Yahan (left); Inscriptions: At the right side of the broom: Ippatsu ichiboku One stroke, one line Soha zokujin Sweeps away worldly dust. Between the broom and poet: Yukuharu no Departing Spring's Shiripeta harau Buttocks are brushed Rakka kana Of fallen flowers. At the left side of the poet: Hatsu shigure First shower of Autumn Mayu ni eboshi no On my eyebrow Shizuku kana My hat's raindrop. The concluding poem: Sato sugite Passing the village Furue ni yanagi o Along a old stream, a willow Mitsuke tari Is found.
Travelers are seen on a winding mountain pathway, among overlapping layers of mountains.
n this painting, Goshun depicts the rounded mountains of the Japanese landscape in a Chinese-derived composition and brush techniques. Some typically Chinese elements in this work include the theme of travelers on a mountain pathway, the composition which winds upwards in an S-curve, and the depiction of overlapping layers of mountains. Apparently Goshun painted this scene again and again to fufill the requests of his admirers because at least five versions of the Road to Shu by Goshun still exist.
Inscription and 3 seals in right margin: painted copy of Wang Miens seals, 1) Chu-chai t'u wei, 2) Kuai-chi chia shan, and 3) Fang wai ssü ma; Inscription on right: Below the solitary peak above West lake, remains the open forest of many plum trees; the old trunks and stones stripped of melancholy snow; only the theme of flowers is associated since ancient times, signed Wang Yüan Chang; Copy of colophon by Wu Chang (an owner of the Wang Mien original) on left, signed Wu Chang, no seals; Inscription by Baiitsu in lower left: On the 23 day of the eigth month, in the autumn of the year Teimi (1847) Yamamoto Baiitsu Ryo immitated. followed by the artist's seal: Bai-itsu
The prunus branch depicted by Baiitsu makes use of the long vertical form provided by the hanging scroll format. The branch enters the visual field from the top right, and curves downward toward the bottom of the scroll. On either side of the branch are sections of calligraphic text.
This painting exemplifies one of the ways Japanese artists learned from Chinese models: it is a direct copy of a work by the Yuan dynasty artist Wang Mien. Baiitsu placed thin sheets of paper over the original and traced the contours of the branches in pale ink; then, looking at the two works side-by-side, he painted in the washes, imitating Wang’s “flying white” brush strokes. Baiitsu even copied Wang’s original inscription and seals, as well as a colophon by a later owner of the work.
Inscription and signature in upper right: Whose house is that on the hill woods by the stream? Tall trees spreading among the hill and rocks All leaves are falling down with the rain into the stream. Left only the water color all over the mountains. signed: Nana ju kyo o Kaiseki Ryu sha. Seals in upper right: Konsai, Daigoryu, Kaiseki Ryu Ryunen shi in