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
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.