Permalink : http://hdl.handle.net/2115/5763

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 by Kyoto artists during the late premodern period have not been studied from this viewpoint, those works 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 the Muromachi to the late Edo, on to premodern, and from the Soga School to the Kano, the Hasegawa,and the Unkoku. Of them, there are five rooms and 41 panels that contain the screen pictures 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 major figure in Kyoto art circles. Zaichu learned from Chinese and old Japanese paintings and often diverted their designs for his own paintings. This act of "imitation" or "diversion" has led to low evaluations of Zaichuʼs paintings from the standpoint of individuality and originality. In the case of the wall and sliding-door paintings of Sangen-in, some consider the "Tiger Picture" in the Shicchu room to be merely an enlarged version of the "Dragon-and-Tiger Picture" by Mokkei (Muxi), which has traditionally been passed down at Daitoku-ji temple. However, there seem to be some hidden artistic 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 originals Zaichu based his works upon and what styles he employed,and then examined the combinations of the rooms to fully comprehend his scheme. As a result, the research clarified that Zaichu had made original works out of screen pictures by the Ami School,the Kano School,and painters of realism (the Maruyama School) by motif, subject, and technique for each room; the whole composition revealed an intent to "assort school-by-school characteristic features." One may even conclude that by 1820 at the age of 71, Zaichu reorganized those paintings into one large piece of Hojo wall painting -- it can be said that most parts of it were produced at Daitoku-ji subtemples. 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 sufficient research has been conducted. Thus, by accumulating analyses and studies,we will be closer to starting to clarify some of the traits Japanese culture is supposed to contain such as "quotation," "parody" and "imitation."