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CLP 169: 198? China-to-Japan in Edo Period Ptg and Prints (Intended as preparation for exhibition that was never realized.)

"China-to-Japan in Edo Period Painting and Prints."


History of Art 230, China-to-Japan Seminar: First Bibliography

Yoshiho Yonezawa and Chu Yoshizawa, tr. Betty Iverson Monroe, Japanese Painting in the Literati Style. New York and Tokyo, Weatherhill/Heibonsha, 1974. (Ch. 7, by Teisuke Toda, on "Chinese Painters in Japan"; ch. 8 on "Chinese Painting Manuals and Japanese Nanga.") Read ch. 1 & 2.

James Cahill, Scholar-Painters of Japan: The Nanga School, New York, Asia House Gallery, 1972. Read ch. 1 & 2, others later.
James Cahill, "Phases and Modes in the Transmission of Ming-Ch'ing Painting Styles to Edo Japan." In: Yu-him Tam, ed., Papers of the International Symnposium on Sino-Japanese Cultural Interchange, vol. 1, Aspects of Archaeology and Art History, Hong Kong, Institute of Chinese Studies, The Chinese University of Hong Kong, 1985, pp. 65-97. Read.

James Cahill, Sakaki Hyakusen and Early Nanga Painting. Berkeley, Inst. of East Asian Studies, 1983. English version of articles published in Japanese in Bijutsushi, 1976-79. Read later.

James Cahill, "Yosa Buson and Chinese Painting," in International Symposium on the Conservation and Restoration of Cultural Property: Interregional Influences in East Asian Art History, Tokyo, National Research Institute of Cultural Properties, 1982, pp. 245-263. Read later.

James Cahill, "The 'Noble Scholar' Ideal and Image in Paintings by Kôyô and Buson: Examples in the Gitter Collection." In: The Arts of the Edo Period: An international Symposium presented by the New Orleans Museum of Art, New Orleans, 1983, pp. 1-29. Read later. (On the Buson 1772 painting discussed in this article, see also Gene Phillips, Chinese Poets and Poetics in the Art of Yosa Buson, paper for AAS panel, March 1988 (see below)

Joan Stanley-Baker, "Idealist Painting in China and Japan: Wenrenhua in a Nanga Perspective." In: Suzuki Kei Sensei Kanreki Kinen: Chûgoku Kaiga-shi Ronshû, Tokyo, 1981, 115-168. Offprint. (pp. 129-133: on Pa-chung hua-p'u, "Eight Kinds of Painting Manual, Anhui publication, 1621, reprinted in Japan as Hasshû gafu, 1672 and 1710.

Kao Mayching, Literati Paintings from Japan, Hong Kong, Institute of Chinese Studies, Chinese University of Hong Kong, 1974. Read general essay, pp. 27-48.

Burton Watson, trans., Japanese Literature in Chinese, v. II: Poetry and Prose in Chinese by Japanese Writers of the Later Period. New York, Columbia U. Press, 1976.

Burton Watson, trans., Kanshi: The Poetry of Ishikawa Jôzan and Other Edo-Period Poets. San Francisco, North Point Press, 1990. Introduction, pp. ix-xx.

David Pollack, The Fracture of Meaning: Japan's Synthesis of China from the Eighth through the Eighteenth Centuries. Princeton, Princeton U. Press, 1986.

Marius B. Jansen, China in the Tokugawa World, Cambridge, Harvard U. Press, 1992 (Reischauer Lectures).

Particularly on Buson:

Calvin French et. al., The Poet-Painters: Buson and His Followers, Ann Arbor, U. of Mich. Museum of Art, 1974.

Papers by members of our 1985 (?) seminar, presented at Assoc. for Asian Studies annual meeting, panel on "Yosa Buson: Image, Meaning, Context," organized by Maribeth Graybill (with whom I co-taught the seminar): her "Introduction"; her "Buson as Heir to Saigyo and Nobuzane: A Study in Self-Fashioning"; Gene Phillips paper (see above); Yoko Woodson (auditor in seminar), "Haikai Poet, Commercial Painter: Who Bought Buson's Paintings and Why."

Yoko Woodson, doctoral dissertation. Concentrates on Rai Sanyô and Tanomura Chikuden, both later than Buson; but useful anyway.

Writings of Leon Zolbrod, Buson specialist (literature), U. of British Columbia, Vancouver. Also Yuki Sawa and Edith Marcombe Shiffert, Haiku Master Buson, San Francisco, 1978: contains lots of translations, and annotated bibliography of writings on Buson. Pp. 156-57: trans. of Buson's "Preface to the Collected Haiku of Shundei," 1777. (This is discussed by Zolbrod in his "Talking Poetry: Buson's View of Haiku.")

Mark Morris, "Buson and Shiki," Part I. In Harvard Journal of Asian Studies, (date?) pp. 381-425; Part II, ibid. (date?) pp. 255-321.
History of Art 230, China-to-Japan seminar, second bibliography.

I. Other Routes from China:

Chinese Painters in Japan

Japanese Quest for a New Vision: Impact of Visiting Chinese Painters, 1600-1900. U. of Kansas, Lawrence, Spencer Museum of Art, 1986.
Howard Rogers, “Beyond Deep Waters,” in Sophia International Review 7, 1985, pp. 15-37.
(Also chapter in Yoshizawa & Yonezawa book; articles in Japanese by Takeyoshi Tsuruta, etc.)

Ôbaku (Huang-po
Stephen Addiss and Kwan S. Wong, Obaku: Zen Painting and Calligraphy. Lawrence, Kansas etc., 1978.
An Exhibition of Huangpo Chan/Obaku Zen Calligraphy and Painting. Hong Kong, Chinese U. of Hong Kong, 1989.
(Also larger book, Ôbaku bunka, Uji, Mampukuji, 1972. No English text.)
Joan Stanley-Baker, "The Ôbaku Connection: One Source of Potential Chinese Influence in Early Tokugawa Painting." In Papers of the International Symposium on Sino-Japanese Cultural Interchange,v. I, "Aspects of Archaeology and Art History," Hong Kong, Chinese U. of Hong Kong, 1985, pp. 99-154. (My own "Phases and Modes: ibid. 65-97.)

II. Other Kinds of Edo (and earlier) Painting

Shogunal (Daimyo) Art

The Shogun Age Exhibition (from the Tokugawa Art Museum, Japan.) L.A. County Museum etc., 1984-85. Highly idealized account of Tokugawa shogunate and its art.

Yoshiaki Shimizu, ed., Japan: The Shaping of the Daimyo Culture, 1185-1868. National Gallery of Art, Washington D.C., 1988-89

Western Styles, Western Influence.
Calvin French et. al., Through Closed Doors: Western Influence on Japanese Art 1639-1853. U. of Michigan, Ann Arbor etc., 1977-78.
Calvin French, Shiba Kôkan: Artist, Innovator, and Pioneer in the Westernization of Japan. New York and Tokyo, Weatherhill, 1974.
Rimpa ("Decorative School," Sôtatsu-Kôrin etc.)

 

Exquisite Visions: Rimpa Paintings from Japan. Honolulu, 1980-81. (Main text by Howard Link)
Ôkyo and the Maruyama-Shijô School of Japanese Painting. Exhibition catalog, St. Louis and Seattle, 1980. Principal essay by Johei Sasaki.

III. Other Individual Nanga Masters

Melinda Takeuchi, Taiga's True Views: The Language of Landscape Painting in Eighteenth-Century Japan. Stanford, 1992.
Stephen Addiss, Tall Mountains and Flowing waters: The Arts of Uragami Gyokudô. Honolulu, 1987.
(Also several dissertations to be found in University Microfilm volumes in main stack.)
Most of the above will be found in 419A on the shelf in the southwest corner; a few on shelves A2, A3, A4.

IV. More General Writings

Toda Teisuke, “Bijutsu-shi ni okeru Nitchû kankei” (Relationship Between Japan and China in the History of Art,) in Bijutsushi ronsô (Tôkyô daigaku bungakubu bijutsu-shi kenkyû-shitsu kiyô #7). English abstract.
Akira Iriye, ed., The Chinese and the Japanese: Essays in Political and Cultural Interaction. Princeton, 1980. Pp. 9-36: Harry Harootunian, “The Functions of China in Tokugawa Thought.”
Peter Nosco, ed., Confucianism and Tokugawa Culture. Princeton, 1984. Includes Donald Keene, “Characteristic Responses to Confucianism in Tokugawa Literature,” and Samuel Hideo Yamashita, “Nature and Artifice in the Writings of Ogyû Sorai.”
History of Art 230, China-to-Japan seminar: Slide-show I: Chinese styles and subjects in Japanese painting apart from Nanga/Bunjinga. (Note: "Akiyama" = Akiyama Terukazu, Japanese Painting, Geneva, Skira, 1961.)

I. Early period (Nara-Heian)
- Hôryûji wall paintings: Paradise of Amitabha. Late 7th cent. Akiyama 24 etc.
- Hokkedô kompon mandala, 9th cent.? Japanese? Boston M.F.A. Akiyama 26 etc.
- Anon. 11th cent., Senzui Byôbu, from Tôji. Yüan Chen visiting Po Chü-i. Pollack Fig. 5 p. 69; Akiyama 71. Cf. screen in Jingôji, 13th cent..
- Crowd scene, Ban Dainagon scroll, late 12c.
- Mounted warriors, from Heiji Monogatari scroll, 3rd quarter 13th cent., Boston M.F.A. (Cf. Akiyama 98-99.) Compare:
- Riding to the Hunt, wall ptg. in tomb of Chang Huai, early 8c.
- Li Kung-lin, Pasturing Horses, copy after Wei Yen, late 7c-early 8c.
- Ippen Shônin eden (Life of the Monk Ippen), 1299. Different section in Akiyama 101. Cf. landscape handscroll attrib. Chao Po-chü, 12c, Palace Museum, Beijing.

II. Muromachi-Momoyama (13-17 cent.)
(Of interest: Martin Collcutt, Five Mountains: The Rinzai Zen Monastic Institution in Medieval Japan.)
- Landscape by Shitan, before 1317.
- Josetsu, "Catching a Catfish in a Gourd," commissioned by Ashikaga Yoshimochi. Cf. Collcutt p. 99.
- Mokuan Reian (went to China 1326-29): The Three Sleepers. Hotei (Pu-tai). Cf. ptgs by Li Ch'üeh, Chinese 13c follower of Liang K'ai. Cf. Liang K'ai, "Li Po Walking and Chanting a Poem."
- Other figure paintings: "Three Tasters of Vinegar"; Lin Pu (Ho-ching); etc. Late Northern and Southern Sung Culture.
( Miyamoto Musashi, or Niten, early Edo: Hotei and Fighting Chickens.)
- Shûbun (active 1414-63). "Reading Books in a BambooGrove" (Chikusai dokusho)
Sesshû Tôyô (1420-1526). In China 1467-69.
- Landscapes of Four Seasons, Tokyo N.M. (Cf. Che-school works of Ming.)
- Section from Sanzui chôkan (Long landscape handscroll), former Môri family. Cf. Hsia Kuei, sec'n of "Pure and Remote View of Streams and Mountains." (copy of copy of ...)
- Fan ptg, copy after Yü-chien, late Sung. Cf. fan ptg. attrib. Yü-chien.
- Haboku sansui (landscape in cursive style), 1495. Tokyo N.M. Akiyama 114, Pollack fig. 8 p. 188, etc. Cf: Yü-chien, "Mountain Village in Clearing Mist."
- Amanohashidate ("The Bridge of Heaven") near Miyazu, ca. 1503. Akiyama 115 etc.
Sesson Shûkei (ca. 1504-after 1589). Self-portrait. (Cf. Huang Kung-wang, Chinese, 14c, "Visiting Tai on a Snowy Night.")
Series of Kano-school screen & fusuma ptgs with Chinese subjects:
- Kano Shôei (1519-92), "Paragons of Filial Piety," screens.
- Kano Sansetsu, 1589-1651, "The Lan-t'ing Gathering," screens.
- Attrib. Kano Mitsunobu, "The Everlasting Sorrow" (Po Chü-i's poem about T'ang Emp. Ming-huang and Yang Kuei-fei).
- Kano Tanyû (1602-74), "Chinese Emperors," screens. Another set, fusuma (sliding-door) compositions.
- Kanô Tanyû, "Four Sages of Mt. Shang," "Seven Sages of Bamboo Grove." Screens.
Kaihô Yûshô (1533-1615). Kinki shoga (The Four Accomplishments), screens. Another pair, ink monochrome.

Hasegawa Tôhaku (1539-1610).
- Fusuma, Gibbons in Trees, after Mu-ch'i (Chinese, 13c)
- Screens: Gibbons in Trees, Crane in Bamboo Grove.
- Pines in Fog, screens. (Detail: Akiyama 128.)

III. Edo Period: Other Than Nanga

Ôgata Kôrin (1658-1716).

- T'ai Kung-wang Fishing.
- Hakurakuten (= Po Lo-t'ien = Po Chü-i), screen.
- Three Laughers; Po-i and Shu-ch'i. Ink monochrome paintings.

Maruyama Ôkyo (1733-1795)

- The Lan-t'ing Gathering (? scholarly gathering.)
- The Red Cliff, after Su Tung-p'o's ode.
- General Kuo Tzu-i and Children, fusuma ptgs, Daijôji.

Nagasawa Rosetsu (1754-99)

- Mt. P'eng-lai (Hôrai-zan).
- Han-shan and Shih-te (Kanzan Jittoku)
- Nine Immortals of the Winecup (Li Po and companions.)
History of Art 230: China-to-Japan seminar. Suggested topics for mid-seminar presentations.
- Chinese themes in Muromachi painting, emphasizing the non-Zen, non-Buddhist. (Shimizu/Wheelwright volume; translations of Japanese books on Muromachi ink-painting; etc. Fontein and Hickman: Zen Painting and Calligraphy. etc. And, tentatively and as we go further, how these differ from Chinese themes depicted by Edo artists.)

- Pollack, and whatever other theoretical formulations of China/Japan cultural relationship problem we can locate. Reviews of Pollack? Theoretical underpinnings. Present these critically, and lead discussion.

- Yoko Woodson on patronage (anything else in English?) and economic situation of bunjin artists in Japan. Cf. to China (using my Columbia U. lectures in press.) Background: rise of merchant class, their cultural aspirations, etc. (Charles David Sheldon, The Rise of the Merchant Class in Tokugawa Japan, 1600-1868, An Introductory Survey. Locust Valley, N.Y., AAS, 1958. UGL HC462 S48 1958.) Cambridge History of Japan essays?

- Japanese uses of Chinese literature in this period (cf. to earlier); poetry written in Chinese by Japanese poets, etc. Parallels with painting. (Someone other than Charles should do this one.) Writings of Watson, Keene. Talk with Prof. Mack Horton? (on leave this year but reachable.)

- "Other routes from China": Nagasaki School (Shen Ch'üan etc.); Obaku; Chinese painters who came to Japan in this period.
- Chinese subjects in other kinds of Edo-period painting: Maruyama-Shijô, Rimpa, Kano, etc. Various catalogs, other sources.
I can supply some English-language readings for all of these.

Book left off Second Biblio. (under II, "Other Schools of Edo Painting"): Ôkyo and the Maruyama-Shijô School of Japanese Painting. Exhibition catalog, St. Louis and Seattle, 1980. Principal essay by Johei Sasaki.

History of Art 230, China-to-Japan seminar, Spring 1993. Slide Show 2: early Nanga painting. (Nanga=my Scholar-Painter of Japan; Y&Y=Yoshizawa and Yonezawa; Kao=Kao Mayching Literati Ptrs.;Takeuchi=Melinda Takeuchi, Taiga’s True Views.)

Early Nanga Painting and Chinese Sources

(Mochizuki Gyokusen, 1692-1755. Fisherman at mouth of Cave ("Peach Blossom Spring," after leaf from Hasshû gafu. Other works: Gathering of Old Men, 1749; Woodgatherer Reading Book. Other figure paintings of this kind.)

Gion Nankai (1676-1751).

- Bamboo in ink. Y&Y 10? KQO 9.Cf. leaves of Mustard Seed Garden Manual of Painting.
- Blossoming Plum, Nanga 2, Y&Y 8?
- Landscape with Natural Bridge (Mt. T'ien-t'ai?) Cf. another Mustard Seed Garden leaf.
- Landscape with Figures, 1707 (surprisingly early.) Kao 10. Cf. Mustard Seed Garden leaf with color.
- Landscape, Tokyo National Museum, Nanga 1. Cf. works by I Hai (I Fu-chiu, Chinese artist who came to Japan), Takeuchi 23; Tung Ch'i-ch'ang. Hyakusen 61-63 for these together.
(Another, Y&Y 9? “Landscape After T’ang Yin.”

Yanigisawa Kien (1706-58).

- Bamboo in ink, cf. Y&Y 12? Another in green (!), Y&Y color 8.
- Flowers of Seasons, triptych, ink & colors on silk. Nanga.
- The West Lake at Hangchou. Pair. Nanga 4. Cf. leaf from Ming-shan t'u (Pictures of Famous Mountains), late Ming woodblock-printed book.
(Another landscape, Takeuchi 7).

Nakayama Kôyô (1717-80)

- Li Po? Gazing at Waterfall; T'ao Yüan-ming, Kao 13.
- Landscape of Matsushima, 1772. Nanga 7. Cf. Y&Y 7, 1775.
- Landscape with Recluse's Dwelling, 1778. Cf. 1776 one, Kao 12.

(I Fu-chiu/I Fukyû. Various landscapes. Cf. Y&Y 5? Kao 1.)

* Sakaki Hyakusen (1697-1752).

- Screens, Tokyo Nat'l Mus., 1747. Cf. ptgs by Sheng Mao-yeh, late Ming. Hyakusen 9-12, 57-58.
- Gathering of Scholars, undtd. Cf. anon. Ming (Nelson Gallery, decorative arts gallery). Hyakusen 1,2.
- Seated scholar with servant pouring wine. Cf. Li Shih-ta. Hyakusen 3-5.
- Landscape with Waterfall. Cf. ptg by Sung Hsü, 1689.
- Li Po Gazing at Waterfall. Nanga 6, Kao 11, Hyakusen 50.
- Landscape with Women in Ravine, Hyakusen 32-33.
- Landscape with Scholars Gazing at Waterfall, 1731. Yabumoto Col.
- Landscape with Rainstorm, undtd. Hyakusen 48.
- River Landscape:with Willows: Buying a Fish, 1745, Nanga 5, Hyakusen 49.
- Bamboo in Wind (Henderson col., Seattle), Hyakusen 39.
- Branch of Blossoming Plum, Hyakusen 36, 37.
- Two landscapes, from photographs. Hyakusen 65, 68.
- Figures on Natural Bridge at Mt. T'ien-t'ai. Cf. ptg by Sheng Mao-yeh.
- Hyakusen fusuma paintings in Suhara House, Tônomine, 1751, Y&Y 7? (misdated? ca. 1740), Hyakusen 37, 42-44, 84-86.
- Spring Landscape, Asian Art Mus. (former Gloria Hahn). Hyakusen 79.
- Various haiga etc. by Hyakusen; cf. to Buson. Hyakusen 80-83.
- Ptg. of men floating down river on raft.
(Note: disregard Y&Y 17, Hyakusen 73: not by him.)

* Ikeno Taiga (1723-76).

- "Willows at Wei-ch'eng," 1744, Y&Y 10? Takeuchi 9.
- "Essay on Enjoying One's Will (Rakushi-ron), 1750. Text written out by Nankai; title by Kien. Nanga 8.
- 1748 "Red Cliff," after Su Tung-p'o's ode. Cf. Hyakusen; another, screen, 1749. Another, Freer Gallery of Art, undtd. Cf. Mustard Seed Garden leaf.
- Landscape with Figure, 1749.
- "The Orchid Pavilion" (Lan-t'ing/Rantei), screen, Burke col. Nanga 10, Takeuchi 51 (color).
- “The Six Distances,” 1766. Nanga 13.
- "Mt. O-mei," undtd. Private col. (Yabumoto).
-The Nachi Waterfall. Nanga 15.
- True View of Mt. Asama. Takeuchi 29, Y&Y 24?
- True View of Kojima Bay. Nanga 14, Takeuchi 47.
- Eight Views of the Hsiao-Hsiang. Nanga 16.
History of Art 230, China-to-Japan seminar, slide show 4:

Later Nanga Painting (excluding, for the moment, Tanomura Chikuden, Aoki Mokubei, Uragami Gyokudô, Tomioka Tessai.)

- Noro Kaiseki (1747-1828). Nanga 19, landscape dtd. 1811; another dtd. 1825. Cf. Huang Kung-wang, "Stone Cliff at the Pond of Heaven," 1341 (Cahill, Hills Beyond a River, 40); copy in Fujita Museum, Bunjinga China 3, pl. 9.

Taiga associates & followers:

- Ike Gyokuran (see catalog by Patricia Fister of exhibition of women artists of Japan.)
- Aoki Shukuya (d. 1789). Nanga 17.
- Kuwayama Gyokushû (1746-1799). Author of Kaiji higen (ca. 1799); leading theorist of Nanga school. Landscape, 1798, Nanga 18; others.
- Yokoi Kinkoku (Buson follower, 1761-1832). Road to Shu, Nanga 29. Others. See French, ed., The Poet Painters: lots of Kinkoku.
- Okada Beisanjin (1744-1820). Nanga 52: Landscape with Pine Groves, 1820.Y&Y 73: another, undated.
- Okada Hankô (1782-1846). Nanga 53, Y&Y 74 and 80 (color detail): "Crows Taking Flight Through Spring Haze," 1841. Others.
- Tani Bunchô (1763-1840). Nanga 54: Landscape with Figures, 1794. Y&Y 93: True View of Mt. Hiko, 1808, detail. Others. (His pupil Tachihara Kyôsho, Woodcutters in Landscape, 1811. Another, Y&Y 84.)

- Watanabe Kazan (1793-1841). Nanga 57: Weaving by Moonlight, dtd. 1829 but ptd. ca. 1840. Playing Fish, dtd. 1834 but probably ptd. ca. 1840. Portraits of Ichikawa Beian. Landscape in Manner of Yün Shou-p'ing, 1838. Others, Y&Y 94-95.

- Rai Sanyô (1780-1832). Y&Y 79: landscape. Others; one dtd. 1829. Yoko Woodson dissertation.
- Nakabayashi Chikutô (1776-1853). Nanga 59: Landscape in Rain. Lots of others.

- Yamamoto Baiitsu (1783-1856). Nanga 60: Bamboo Groves and Waterfalls. Nanga 61: Birds and Flowers, 1861. Others.

(Various other late Nanga paintings.)
History of Art 230, China-to-Japan seminar, slide show 5: Gyokudô, Mokubei, Chikuden.
Uragami Gyokudô (1745-1820) Nanga ch. 5; book by Stephen Addiss.
- Building a House in the Mts., 1792. Nanga 30.
Cf. paintings by Huang Kung-wang, Wang Shih-min: compound or layered brushwork in some Yüan and "Southern school" landscapes.
- Green Pines and Russet Valleys, 1807. Nanga 31.
- Streams and Rocks in a Deep, Dark Valley, 1816. Nanga 38.
Cf. Wang Chien-chang, Landscape in Rain, 162 (late Ming Fukien master)
- A Myriad Sounds and Thousand-layered Peaks. Nanga 32.
Cf. Kung Hsien leaves.
- Sun Setting Behind the Mountains. Suzuki Gyokudo book pl. 42.
- Landscape, Gitter col., New Orleans (done while drunk?)
Cf. Yanagisawa Kien (again), The West Lake at Hangchou; late Ming print.
- Two Peaks Embracing Clouds, Nanga 34.
- Mist and Clouds album (Enka-jô), 1811. Album of 12 leaves. Nanga 35; Suzuki volume, etc. Cf. album by Li Ch'u-pai, unident.: Chinese? 18th cent.? Article by Kozo Yabumoto (owner) in Kokka 1010.

*Snow Sifted from Freezing Clouds (Tôun Shisetsu). Former Kawabata Yasunari.
Cf. landscape attrib. Mi Fu; leaf in Mi manner by Tung Ch'i-ch'ang.
- Mountains in Autumn Rain.
- Enveloping Clouds Arouse and Nourish, Nanga 36. Others.

Aoki Mokubei (1767-1833) (Nanga ch. 6)

- Mt. P'eng-lai (Hôraizan), 1811. Nanga 39.
- Autumn Landscape, 1824. Nanga 40.
- Morning Sun at Uji, 1824. Nanga 41.
- New Verdure Wet with Rain, 1826.Nanga 42.
- Heaven Protects the Nine Similitudes, 1830. Nanga 43.
- Clouds Around the Base of a Mountain. Nanga 44.

Tanomura Chikuden (1777-1835)

- Autumn Landscape, 1827. Nanga 45.
- Boat Trip on the Inagawa, 1829. Nanga 46.
- Pine Valley and White Cranes, Seattle Art Museum, cf. Nanga 48.
- Living in Seclusion, 1832. Nanga 49.
- Mata-mata ichiraku-jô (Yet Again One More Pleasure album), 1831-32. Nanga 50. Cf. Sheng Mao-yeh leaves. Others.

Takahashi Sôhei (1802-1833) paintings.

Latest Work

  • Conclusion Conclusion
    VI Conclusion It is time to draw back and look, if not at the whole Hyakusen, at as much of him as we have managed to illuminate in this study. Dark areas remain, and doubtless many distortions, but...
    Read More...

Latest Blog Posts

  • Bedridden Blog
    Bedridden Blog   I am now pretty much confined to bed, and have to recognize this as my future.  It is difficult even to get me out of bed, as happened this morning when they needed to...
    Read More...