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114:, or intellectuals. While each of these artists was, almost by definition, unique and independent, they all shared an admiration for traditional Chinese culture. Their paintings, usually in monochrome black ink, sometimes with light color, and nearly always depicting Chinese landscapes or similar subjects, were patterned after
225:. In addition, the literati themselves were not members of an academic, intellectual bureaucracy as their Chinese counterparts were. While the Chinese literati were, for the most part, academics aspiring to be painters, the Japanese literati were professionally trained painters aspiring to be academics and intellectuals.
271:(J: TÅ KishÅ, 1555â1636). According to the scholar Meccarelli, Kuwayama may be considered the âJapanese Dong Qichangâ, but he mixed both the polychromatic landscapes typical of professional painters and the monochromatic landscapes of literati styles, and he applied a new and more flexible criteria for classification.
192:
Chinese literati painting focused on expressing the rhythm of nature, rather than the technical realistic depiction of it. At the same time, however, the artist was encouraged to display a cold lack of affection for the painting, as if he, as an intellectual, was above caring deeply about his work.
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paintings almost always depicted traditional
Chinese subjects. Artists focused almost exclusively on landscapes and birds and flowers. Poetry or other inscriptions were also an important element of these paintings, and were often in fact added by friends of the artist, not by the painter himself.
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emerged as a new and unique art form for this reason, as well as due to the great differences in culture and environment of the
Japanese literati as compared to their Chinese counterparts. The form was to a great extent defined by its rejection of other major schools of art, such as the
202:, Japan was cut off from the outside world almost completely; its contact with China persisted, but was greatly limited. What little did make its way into Japan was either imported through Nagasaki, or produced by Chinese living there. As a result, the
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artist displayed unique elements in his creations, and many even diverged greatly from the stylistic elements employed by their forebears and contemporaries. As Japan became exposed to
Western culture at the end of the Edo period, many
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During the Qing period, the canons of classical
Chinese painting mainly derived from the criteria set out by Dong Qichang , Mo Shilong (1537?â1587), and Chen Jiru (1558â1639). See Marco, Meccarelli. 2015.
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Ultimately, this style of painting was an outgrowth of the idea of the intellectual, or literati, as a master of all the core traditional arts â painting, calligraphy, and poetry.
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began to incorporate stylistic elements of
Western art into their own, though they nearly always avoided Western subjects and stuck strictly to traditional Chinese ones.
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grew, therefore, out of what did come to Japan from China, including
Chinese woodblock-printed painting manuals and an assortment of paintings widely ranging in quality.
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206:(literati) artists who aspired to the ideals and lifestyles of the Chinese literati were left with a rather incomplete view of Chinese literati ideas and art.
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art. Examples of the style are often elegantly elongated and with few branches, being mainly a long slim trunk surmounted by a very small mass of foliage.
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as trivial and derivative. As a result, the style has only attracted academic attention in the West in recent decades, roughly 100 years later.
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267:(Humble Words on Matters of Painting, 1799) â invited all Japanese literati painters to apply the theories and literati ideals of
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was always much more about the attitude espoused by the painter and his love of
Chinese culture. Thus, as mentioned before, every
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Unlike in other schools of art which have definite founders who pass on their specific style to their students or followers,
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Master
Kuwayama GyokushÅ« (1746â1799) was the acutest theorist on Japanese literati painting. In his three books â
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281:, two of the first to introduce Japanese art in any major way to the West, are known to have criticized
480:"Chinese Painters in Nagasaki: Style and Artistic Contaminatio during the Tokugawa Period (1603-1868)"
458:"Chinese Painters in Nagasaki: Style and Artistic Contaminatio during the Tokugawa Period (1603-1868)"
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or "literati" and is intended to look like the trees portrayed in
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259:(Collected works of Gyokushū, 1790),
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471:French, Cahill (1985). "Bunjinga."
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297:Sargent Juniper arranged in the
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337:The art of flower arrangement
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116:Chinese literati painting
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389:Nakabayashi ChikutÅ
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463:2015, pp. 175â236.
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314:flower arrangement
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483:Ming Qing Studies
461:Ming Qing Studies
104:Japanese painting
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34:Fishing in Spring
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403:(1793â1841)
397:(1783â1856)
391:(1776â1853)
385:(1763â1841)
383:Tani BunchÅ
379:(1752â1826)
373:(1723â1776)
367:(1716â1783)
361:(1652â1724)
265:Kaiji higen
223:Tosa school
219:KanÅ school
181:wén rén huÃ
174:painting" (
49:Tani Buncho
443:References
365:Yosa Buson
346:bunjinbana
311:Bunjinbana
261:Gaen higen
108:Edo period
136:The name
132:Etymology
120:wenrenhua
118:, called
493:Category
436:SenchadÅ
418:See also
328:bunjingi
233:bunjinga
214:Bunjinga
208:Bunjinga
172:literati
142:nanshūga
112:literati
79:Bunjinga
18:Bunjinga
413:artists
340:ikebana
188:History
150:Chinese
324:bunjin
320:bonsai
299:bunjin
250:bunjin
245:bunjin
204:bunjin
199:sakoku
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158:pinyin
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51:, 1807
411:nanga
332:nanga
301:style
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241:nanga
229:Nanga
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57:Nanga
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36:by
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