![]() |
![]() |
Korean J Art Hist > Volume 313; 2022 > Article |
|
1) The influence of the Kundaikan “Painter’s List” on Japanese connoisseurial practice is examined in Yukio Lippit, Painting of the Realm : The Kano House of Painting in Seventeenth-Century Japan(Seattle: University of Washington Press, 2012), 119-132. See also Ide Seinosuke, Sōgen no butsuga, vol. 418 in Nihon no bijutsu series(Tokyo: Shibundō, 2001), 20-22.
2) For more on Yi Am, see Soyoung Lee, “Art and Patronage in the Early Joseon,” in Soyoung Lee, Art of the Korean Renaissance, 1400-1600(New York: The Metropolitan Museum of Art, 2009), 15-63; and Sunpyo Hong and Chin-Sung Chang, “Peace under Heaven: Confucianism and Painting in Early Joseon Korea,” in Lee, ibid, 65-90. Yi Am is discussed within the context of Joseon-dynasty animal painting in Chung Seyang, “Turning Toward Each Other: Warmth and Intimacy in Chosŏn Dynasty Animal Painting,” Acta Koreana 9, no. 1(Jan 2006): 53-87. The earliest sustained examination of Yi Am in Japan is found in Yoshida Yūji, “Richō no kachōga to Nihon,” in Richō kaiga-rinkoku no meitō na bi no sekai, exh. cat.(Nara: Yamato Bunkakan, 1996), 6-11. For the most comprehensive overview of his life, see Itakura Masaaki, “Ri Gan, imeeji no keisei to tenkai-Higashi Ajia kaigashi no kanōsei-,” Kokka 1481(March 2019): 34-43.
3) For a useful summary of the wide-ranging symbology of dogs in Chinese visual culture, see Patricia Bjaaland Welch, Chinese Art: A Guide to Motifs and Visual Imagery (Rutland, VT: Tuttle Publishing, 2008), 118-120. Judging by later Japanese examples, paintings with dogs often formed “puzzle pictures” that functioned as rebuses with auspicious messages. The most well-known example combines dogs with bamboo to constitute the character for “smile” or “laughter” 笑, by combining the bamboo radical with the character for “dog.” For a discussion of this and other examples of puzzle pictures with dogs, some with Zen themes, see Imahashi Riko, Edo no dōbutsuga-Kinsei bijutsu to bunka no kōkogaku (Tokyo: Tōkyō Daigaku Shuppankai, 2004).
4) For an English translation see Amy McNair, Xuanhe Catalogue of Paintings (Ithaca: Cornell University Press, 2019), 388.
5) A detailed introduction to this pair can be found in Itakura Masaaki, “Den Mōeki hitsu Shokki yūbyō zu Kanzō yūku zu o megutte no shomondai,” Yamato bunka 100(Aug 1998): 28-37. Itakura observes that although the two paintings are currently paired, they bear stylistic differences indicating that they are by different artists.
6) This observation is made in Itō Daisuke, “Yosa Buson hitsu kushi zu,” Kokka 1203(Feb 1996): 31-35. See also Itakura, “Den Mōeki,” ibid.
8) See Kasai Masaaki et al, eds., Yakuchū Honchō gashi (Kyoto: Dōbōsha, 1985), 485. The phenomenon of seal names forming the basis of painters’ biographies is discussed in Lippit, Painting of the Realm , ibid.
10) For an overview of his work, see Yukio Lippit, “Tawaraya Sōtatsu: Five Perspectives,” in Sōtatsu, ed. Yukio Lippit and James T. Ulak(Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution, 2015), 23-41.
11) See the assortment of Sōtatsu puppy paintings illustrated in Yamane Yūzō, ed., Sōtatsu-ha ni, vol. 2 of Rinpa kaiga zenshū(Tokyo: Nihon Keizai Shinbunsha, 1978), 305-306.
12) The suggestion that Yi Am’s puppies served as a reference for Sōtatsu’s tarashikomi technique is first made in Tsuji Nobuo, “Sōtatsu-ha no sōka-zu gairon-suibokuga kingindei-e nado no mondai mo fukumete,” in Yamane, ed., Sōtatsu-ha, ibid, 5-18.
13) The painting was first introduced in Nakamura Tanio, “Isshi Bunshu san kushi zu,” Kobijutsu 51(1976): 125-127.
14) See Karasumaru Mitsuhiro to Tawaraya Sōtatsu, exhibition catalogue(Tokyo: Itabashi Ward Museum, 1982), entry to plate 73. Elizabeth Lillehoj suggests that Isshi’s embrace of the Merōfu(C: Malangfu) Kannon encouraged Tōfukumon’in to fund the production of oshi-e 押絵images; see Art and Palace Politics in Early Modern Japan 1580s-1680s(Leiden: Brill, 2011), 151.
15) See the collected essays in The Koan: Texts and Context in Zen Buddhism, ed. Steven Heine and Dale S. Wright(Oxford: Oxford University Press, 2000). For “A Dog Has No Buddha-Nature” in particular, see Ishii Shudo, “Kung-an Ch’an and the Tsung-men t’ung yao chi,” pp. 110-136 and Morten Schlutter, “‘Before the Empty Eon’ versus ‘A Dog Has No BuddhaNature’: Kung-an Use in the Ts’ao-tung Tradition and Ta’hui’s Kung-an Introspection Ch’an,” pp. 168-199 in that book. See also Robert H. Sharf, “How to Think with Chan Gong’an,” in Thinking with Cases: Specialized Knowledge in Chinese Cultural History, ed. Charlotte Furth et al(Honolulu: University of Hawai’i Press, 2007), 205-243.
16) Yukio Lippit, “Tawaraya Sōtatsu and the Watery Poetics of Japanese Ink Painting,” Res 51(Spring 2007): 57-76.
17) Kadowaki Mutsumi, “Esshū kushi wa to kaiga-soshi zu, shōzōga, Sotatsu, Jakuchū,” Jōsai kokusai daigaku Nihon kenkyū sentaa kiyō 4(2009): 37-49.
19) Haruo Shirane, Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Basho(Stanford: Stanford University Press, 1998), 1-29.
20) On Buson’s poetics see Makoto Ueda, The Path of Flowering Thorn: The Life and Poetry of Yosa Buson(Stanford: Stanford University Press, 1998), and Cheryl A. Crowley, Haikai Poet Yosa Buson and the Bashō Revival(Leiden: Brill, 2007).
23) Fukushi Yūya, “Chōsen kaiga to kinsei Nihon kaiga,” in Chōsen ōchō no kaiga to Nihon, exh. cat.(Tokyo: Yomiuri Shinbun, 2008), 214-217.
24) The most common alternative interpretation reads the broom as a device for sweeping away desire, which in a generic sense accords with the Buddhist framework of the subject matter. See, for example, Murata Takashi’s entry in Jakuchū ten, ibid, 192.
25) See the discussion in Seitan sanbyakunen onaitoshi no tensai eshi Jakuchū to Buson, exhibition catalogue(Shiga: Miho Museum, 2015), 323.
26) See Itō Jakuchū-anazaa waarudo, exhibition catalogue(Shizuoka and Chiba: Shizuoka Kenritsu Bijutsukan and Chiba Shiritsu Bijutsukan, 2010), 158.
27) Mother Dog and Puppy was first introduced in Kyoto National Museum, ed., Jakuchū Daizen(Tokyo: Shōgakkan, 2002), pl. 86. See the discussion of the inscription in Kadowaki, “Esshū kushi wa,” ibid, 46.
28) The interpretation of One Hundred Dogs in relation to the “One Hundred Children” theme is found in Imahashi Riko, Edo no dōbutsuga-kinsei bijutsu to bunka no kōkogaku(Tokyo: Tōkyō Daigaku Shuppankai, 2004), 316-319.
![]() |
![]() |