It seems to be in harmony with God
Harmony Hopson Wanfu, Nichijin Taiping Money, All Things Auspicious Chart.
Kikukawa Eyeshan, All Things Good, Yo-Doji Chinese Prints
These two very similar "Auspicious Pictures of All Things", on the left is the ukiyo-e scroll of the ukiyo-e painter Hideyama Kikukawa of the Edo period, and the Chinese print on the right is a Chinese print. Hideyama Kikukawa (1787-1867) was the ancestor of the Kikukawa school and was famous for its beauty paintings. Through the examination of the production period, Yingshan's works are later than Chinese prints, so it is likely that they imitated China.
Coincidentally, it is earlier than the period of Yingshan's works, and more similar to Chinese prints is Matsudaira Dingxin's "All Things Auspicious Map".
Hehe Erxian was dressed in a bronze coin pattern, stepping on jewelry such as coral, one holding a lotus flower and the other holding a treasure box. "Hehe Shen" is generally regarded as the Tang Dynasty monk Han Shan and Shide, which contains beautiful meanings such as a hundred years of good union and qi and wealth, and is a commonly used painting title in Chinese painting. Not only are there frequent appearances of ukiyo-e and harmony, but the Tokyo National Museum in Japan also houses Zen paintings by the Yuan Dynasty painter Indra and a National Treasure of Japan, "Zen Machine Diagram Broken Kankanyama Pick-up Map".
Ukiyo-e is a kind of folk painting popular in the Edo period, and it is also a kind of common people's entertainment that enjoys the present world and affirms the present. There are many kinds of beauty paintings, landscape paintings, warrior paintings, etc., with the characteristics of bright colors and brilliance. "The garden of Japanese art has always received the blessings of China." The Edo culture, which seems to have been born in the era of the Locked Kingdom, borrows a large number of Chinese elements from its painting themes and materials, and completes the practice of imitation-digestion-localization through the circulation of books, the exchange of monks and people, and the study of printmaking New Year painting techniques.
Kitagawa Kaku (2nd Generation) "Map of the Harmony God" and the Suzhou print with the same title
Chinese painting in ukiyo-e
The "painting title" is the title of the painting, which highly summarizes the content and main idea of the picture. The content of Chinese painting titles is The history and culture of China. Materials such as Saito Ryuzo's Dictionary of Painting Inscriptions (Hirobunkan, 1926), Kanai Ziyun's Overview of Oriental Topics (Yungendo, 1981), and Suzuki's Painting Titles: Talking, Legends, and Operas (Daishukan, 1943) fully show that Chinese paintings in Japanese painting in the Edo period account for a very large proportion.
In ukiyo-e, it is often seen (Fangnian)Li Bai, Zilu, Wang Changling, Wu Zixu, Zifang, Chang'e Benyue, Jade Rabbit Sun Wukong, (Guofang's) Water Margin Hundred and Eight People, (Guozhen's) Han Chujun Tan, (Zhou Yan's) Twenty-Four Filial Pieties, (Gaiqi's) Dream of the Red Chamber, Wang Zhaojun and other Chinese cultural figures; there are also models such as "seeing standing", "customs", "wind flow" and other models, such as the Chinese legend Fei Changfang is an immortal who drives away evil spirits and sees a doctor, but ukiyo-e can change the "custom fee long house fairy" And so even the gender has been changed and the picture title.
The famous "Eight Views of Xiaoxiang" originally referred to the eight good victories in the Xiaoxiang area, which were described in the Song Dynasty Shen Kuo's "Mengxi Pen Talk and Calligraphy", which is a traditional painting title in Chinese landscape painting. And ukiyo-e, not only have natural scenery such as the eight views of Omi and the eight views of Kanazawa, but also daily life scenes such as "Eight Views of Wind And Current Makeup", "Eight Views of Zashiki", and "Eight Scenes of Props in the Boudoir" - the transformation has nothing to do with "Xiaoxiang", which can be described as a rebirth.
The prior study conducted a detailed investigation of the use of Chinese painting topics in Japanese painting (Zhang Xiaogang's "Research on Japanese Painting Themes", Mian Cheng Publishing, 2015), summarizing the following four main situations. The first is to adapt Chinese legends into Japanese legends, the second is to piece together several Chinese stories and use Japanese methods to fiction, the third is to use Chinese picture books, drawing sheets, and illustrations to recompose images, and the fourth is the Chinese painting titles created by Japanese painters.
The first and most typical are Bai Lotte and Yang Guifei, such as "Poetry Mirror Bai Lotte" and "Yang Guifei's Ancient Affairs". The Song Dynasty Li Fang's "Taiping Guangji" volume 48 of the Immortal Class Bai Lotte Article is recorded:
In the first year of Tang Huichang, Li Shijizhongcheng was an observer envoy to eastern Zhejiang. Some merchants were swept by the wind, and they did not know what to do, and the rest of the month reached a large mountain,...... ,...... This Penglai Mountain also. If so, don't look no. Send left and right to guide the palace to visit. To the first courtyard, the lock is very strict, because of the voyeurism,...... The guest asked, answered, this is the White Lotte Temple, Lotte in China Future Ear. It is a subliminal memory, a farewell return, the tenth day to the Yue, with the white incorruptible envoy, Li Gong recorded as much as possible to repay the white gong.
In this regard, Bai Juyi composed poems "Guest Has Said" and "Answer Guest Said" to prove false legend. Despite this, the story of Shiraku's easy going to Japan is still passed down in Japan, and the legend of "the encounter between Haku Rakuten and Sumiyoshi Akira" was born.
Yang Guifei is also a favorite object of the Japanese, and Chinese folklore says that Yang Guifei was tortured by a stand-in in the "Change of Ma Songpo", and she herself escaped to Japan. In Japan, kyoto's Izumi-ji Temple has set up a statue of Yang Guifei, enshrined in the statue of Yang Guifei, and the shrines in Yamaguchi Prefecture and Nagoya have built the tomb of Yang Guifei, and there are many legends in Japan.
The second example is "Ju Ci Tong", "Pillow Ci Tong", and "Yan Dan Riding Turtle", and it is difficult to identify the "bottom plate" of these paintings. Ju Ci Tong is probably a splicing of two Chinese stories, one is "Peng Zu" ("History" volume 1 "Five Emperors Benji"), and the other is "Ju Shui" (Ying Shao", "Customs and General Righteousness"). And so on, the "Chinese story" that even Chinese himself did not know was painted on the ukiyo-e.
The third kind is "Shangli Sword", "Lady Li", "Soul Returning Incense", and "Three Acid Diagrams". "Shangli Sword" is taken from the harmonic sound of Zhong Liquan, one of the Eight Immortals (Wang Shizhen's Complete Biography of the Immortals of The Elephants, Volume III "Zhong Liquan"). The Japanese immortals put on their swords and rode the sword to the sea. Zhong Liquan was originally a figure of the Wei and Jin dynasties, a god in Chinese folk and Taoist legends, based on the Eastern Han Dynasty general. The two can be described as incompatible. The "Three Acids" depicts the three monks Huiyuan, Su Dongpo and Huang Tingjian tasting peach blossom vinegar, which means the unity of the three religions of Confucianism and Buddhism.
A fourth, for example, Lin Shoudu's "Painting Tsuen" (Osaka, 1721), 12 of the 48 Chinese gods were painted by the Hunting School. What's more, although not ukiyo-e, the Selected Paintings of Tang Poems (by Takai Lanshan, Komatsubara Tsuiki, etc., Songshanfang, published successively since 1788) Of the 398 poems, only 5 are Chinese paintings, and the 393 capitals are drawn by Edo painters.
In Japan, the story of Hakuju's easy access to Japan has always been circulated, and the legend of "the encounter between Haku Lotte and Sumiyoshi Akira" was born. The picture shows "See Li Bai Lotte"
How Chinese paintings came to ukiyo-e
The lockdown of Edo does not mean isolation, and Nagasaki is an important window to the outside world. The Bibliography of the Imperial Household Agency Shoryō (Kansai University, 1972), a photocopy of the Miyaido Agency Shoryū Department (Kansai University,1972), is a catalogue of books transported from China to Nagasaki by Japanese merchant ships in the Edo period, recorded from about 61 years from 1694 to 1754, with a total of 40 volumes and 58 volumes; a total of 2490 chinese books, including 200 novels.
(1) Books related to painting
Art books such as Chinese painting notation have greatly stimulated Japan, such as "Eight Kinds of Painting Notation" ("Jiyazhai Painting Spectrum"), "Tuhua Zongyi", "Mustard Garden Painting Biography", "Ten Bamboo Zhai Calligraphy and Painting Notation", "Famous Painting Notation of Past Dynasties" and so on. In particular, the "Mustard Garden Painting Biography" has had an important impact on Japanese drawing books such as "Picture Book Tongbaozhi", "Picture Book YingsuMei", and "Ming Dynasty Purple Yan". In addition, there are also books and paintings such as "Three Talents Picture Society", "Cheng's Ink Garden", "Plum Blossom Joy God Spectrum", "Wonders of the Sea", "Famous Mountain Map", "Mountain and Sea Classic Map" and other books and paintings.
"Painting Tsuen" has 147 Han characters and 36 Chinese immortals. Its "Fan Case" cites the Ming Dynasty Wang Shizhen's "The Complete Biography of the Immortals of youxiang" as a reference book; researcher Hiromitsu Kobayashi identified the relationship between the book and the Ming Dynasty Hong Yingming's "The Strange Trail of the Immortal Buddha", as well as with Wang Xi and Wang Siyi's "Three Talents Picture Society" (Kobayashi Hiromitsu's "'Painting' Ande' Four Han Character Portrait Examination", "Minutes" No. 32, 1989, Department of Literature, Practical Women's University).
Another example is "Shrimp Ant Immortal", there are two sources, one is Mr. Hou, and the other is Liu Hai Toad. The source of the former is Wang Shizhen's "The Complete Biography of youxiang Liexian" (volume 7 "Mr. Hou"), and the source of the latter is not only books, but also Chinese New Year paintings. As early as the Song Dynasty, there were New Year paintings of "Bangs Playing Toad", but because the New Year paintings belong to the things that are discarded once a year, there is no physical preservation evidence.
(2) Monastic-human exchanges
Song Zishi (1715-1786), the author of the Shrimp Andburi Immortal Figure, whose real name was Kohachiro Nanmoto, was born in Edo, went to Nagasaki, and studied from Kumashiro Kumahiro. Later, he learned painting from the Qing Dynasty painter Song Ziyan, so he took the name Song Zishi. It was he who introduced Shen Nanping's painting style to Edo and led to its popularity.
In the development of modern Japanese painting of flowers and birds, the Chinese Qing Dynasty painter Shen Nanping (in Japan from 1731 to 1733) and his disciple Song Ziyan (from 1758 to Nagasaki) had an important influence. Shen Nanping went to Japan at the invitation of the Japanese Imperial Family, and the painting was very famous. Tian Cun Takeda's "Rap of the Mountain Man" (1835) in the second volume of the book: "The flowers of the time have never had a bone method, and they began to flourish after covering Shen Nanping." Nan Ping, mingquan, character Heng Zhai, Wu Xingren, Xiang Baozhong, enlisted in nagasaki town, into several paintings, rewarded with a lot of money. The paintings are neatly painted and colorful. When the time rises for a long time, people gradually become tired of the snow boat and the hunting field, so they are called Nanping for a while, and they are suddenly competing. Quan Chuan Fa Qi people Xiong Fei, Fei Chuan Edo people Song Zishi, Purple Stone Zishan Shiqi karma. ”
The origin of the Japanese "Eight Views" is related to the Chinese Zen master Xinyue. Legend has it that in 1694 Shinkoshi came to Kanazawa and looked out from Nengmi-do and admired the beautiful scenery of Xiaoxiang Eight Views. Therefore, the scenery here was named "Kanazawa Eight Views", and the station was also named "Kanazawa Eight Views Station". Later, Utagawa Hiroshige moved it to the drawing paper, known as the Eight Views of Kanazawa.
Xinyue was a senior monk of the Ming Dynasty, who crossed the Fusang in the east, spread the art of calligraphy and painting seal carving, xingqin Dao, and promoted Buddhism, and was an important figure in the history of Sino-Japanese cultural exchanges. Xiaoxiang Eight Views are particularly loved by Japanese Zen monks, and the reason is that it is a kind of cultural elegance, a sense of life in the four seasons, or the ideal pursuit of a secluded life.
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Tsuji Tsuji, a researcher in the history of contemporary Japanese art, said:
I do not subscribe to the nationalist view in the Narrative of Japanese Art. Ernest Fenorosa said: "The fine arts of all nations and peoples cannot be isolated phenomena. (Tsuji Weixiong, "Illustration of the History of Japanese Art", translated by Cai Dunda and Wu Liming, Life, Reading, and Shinchi Triptych Bookstore, 2016)
However, the distinct style and connotations of Japanese art make it impossible to classify it in any form of China. "Under the influence of foreign art, the ever-changing but unchanging essence is the norm in Japanese art." (Tsuji Tsuji)
Author: Li Yanli Associate Researcher, Institute of Literature, Shanghai Academy of Social Sciences
Editor: Liu Di
Editor-in-Charge: Junyi Li
*Wenhui exclusive manuscript, please indicate the source when reprinting.