Wandering through Streams and Mountains: Landscape Painting in East Asia
This two-part installation highlighting Japan and China focuses on landscape painting, one of the most important art forms of East Asia. Although the word "landscape" best captures the subject matter of the works on view, no such word existed in traditional Japanese or Chinese discourse. In both languages, the genre is called "mountain and water" (Japanese: sansui, Chinese: shanshui 山水, evoking the key components of depictions of nature in East Asian painting.
Two distinct strains of landscape painting developed in Japan by the fourteenth century. One followed the example of the mostly monochromatic landscapes of China's Song dynasty (960-1279). Built on a Chinese tradition, these images nonetheless feature numerous formal innovations, including dramatically pruned pine trees and thick, swirling mists. The other landscape tradition in Japan focused on brilliantly colored scenes quite different from contemporary Chinese works. More ornamental than topographical, these paintings often used thick layers of paint or gold leaf. The latter technique is seen in the pair of screens on display, Tigers and Bamboo, in which majestic tigers emerge from a bamboo grove in an atmospheric haze that dazzles and flickers against a gold ground.
Japanese painters working in both landscape traditions were inspired by the distinctive seasons of their homeland. Often the passing of spring to summer or autumn to winter was depicted within a single image or across a series of screens. Beloved scenic locations, such as that depicted in The Hozu River, seen to your left, were also popular subjects for landscape painters-and remain so to the present day.
Landscape paintings in China often were meant to invite the viewer to mentally travel through the scene. A point of entry into the landscape was provided, often by means of a path or a sliver of land in the foreground. As the scene continues upward (in a hanging scroll) or leftward (in a handscroll), both perspective and scale may change, and the viewer is taken on a journey through mountain and water, time and space.
Landscape emerged as an independent genre in Chinese painting during the tumultuous later years of the Tang dynasty (618-906). As the dynasty crumbled, elites yearned to withdraw to the bucolic setting of their country estates. Painters responded by creating images that reflect the idealized retreats envisioned by their patrons. By the Northern Song dynasty (960- 1127), court painters were producing monumental landscapes whose imposing mountains and intricately arranged streams and trees came to be viewed as visual metaphors for the well-ordered state. The dynasty also saw the rise of painters drawn from the new class of scholar-officials. These talented amateurs further transformed the genre by producing landscapes aimed at expressing their own artistic visions.
After the Song dynasty, painters began to adopt and reinterpret the styles and tropes of earlier artists to the extent that landscape painting in China became largely an artistic dialogue with past masters. Thus, the ultimate inspiration for the landscape painter's natural forms lay not necessarily in an artist's personal experience with rural scenery but in the history of landscape painting itself.
Farewell at a Spring River (Chun jiang song bie 春江送別 )Ming dynasty, 1368–1644
Shen Zhou 沈周, 1427–1509
Farewell at a Spring River (Chun jiang song bie 春江送別 ), 1499
Doves and Rose Bush (Hui ge tu 繪鴿圖)early Ming dynasty, 1368–1644
attributed to Lin Chun 林 椿, active ca. 1174–ca. 1189
Doves and Rose Bush (Hui ge tu 繪鴿圖), late 14th–15th century
Seeing Off a Guest on a Mountain Path (Shanlu song ke 山路送客)Ming dynasty, 1368–1644
Tang Yin 唐寅, 1470–1524
Seeing Off a Guest on a Mountain Path (Shanlu song ke 山路送客), undated; ca. 1505–10
Winter in the Mountains (Dong jing shanshui 冬景山水)Ming dynasty, 1368–1644
Wang E 王諤, active ca. 1488–ca. 1541
Winter in the Mountains (Dong jing shanshui 冬景山水), after 1510
Landscape in the style of Huang GongwangMing dynasty, 1368–1644
Lan Ying 藍 瑛, 1585–ca. 1664 | after Huang Gongwang 黃公望, 1269 - 1354
Landscape in the style of Huang Gongwang, 1624
Landscape in the Style of Huang GongwangQing dynasty, 1644–1912
Wang Hui 王翬, 1632–1717
Landscape in the Style of Huang Gongwang, 1660
Album of Landscapes, Plants, Figures, and Animals: Ducks under Willows in the Style of HuichongQing dynasty, 1644–1912
Fang Shishu, 1692–1751
Album of Landscapes, Plants, Figures, and Animals: Ducks under Willows in the Style of Huichong, 1745
Landscape after Wang FuQing dynasty, 1644–1912
Wang Xuehao 王學浩, 1754 - 1832
Landscape after Wang Fu, 1831
Peach Blossom Spring (Taoyuan tu 桃源圖)Modern period, 1912–present
Li Huasheng 李華生, Chinese, born 1944
Peach Blossom Spring (Taoyuan tu 桃源圖), 1986
Landscape, from Genesis seriesModern period, 1912–present
Tai Xiangzhou 泰祥洲, born 1968
Landscape, from Genesis series, about 2012
Group of TreesMing dynasty to early Qing dynasty, 1644–1912, 1368–1644
Group of Trees, undated
Duck and ReedsMing dynasty to early Qing dynasty, 1644–1912, 1368–1644
Duck and Reeds, undated