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I Fu-chiu and the relationship between Chinese and Japanese literati paintings
No full textPainting has been the dominant form of Chinese art since the Southern Sung dynasty of the twelfth and thirteenth centuries. The various preferences of emperors and the general populace influenced the social values and positions of the painting styles or schools in differet periods. Among the various styles, literati painting usually enjoyed a higher appreciation and reputation among the Chinese scholars and officials. There were no formal distinctions between the different styles, until the Ming dynasty painter-theorist, Tung Chi-ch’ang, who advocated and organized the distinctions between the Southern and Northern schools in Chinese painting. He classified the Southern school or literati painting as the most intellectual style of Chinese painting. Although the theories of Tung Chi-ch’ang were imperfect, it became an orthodoxy in the succeeding centuries. Tung chi- ch’ang’s theories as well as later Chinese painting manuals were brought to Nagasaki, Japan, during the Toku-gawa era by Chinese merchants. Although the primary concern of the merchants was mercenary, they also functioned as agents of cultural exchange and viewed the Chinese merchant-painter I Fu-chiu as one of the most important inspirers of the movement of the Japanese Nanga school. I Fu-chiu was an amateur painter from Wuhsing, the most artistic and intellectual center in the Yangtse delta. It was I Fu-chiu who, by- bringing his painting style to Nagasaki, also introduced the Chinese literati tradition, with which his work was thoroughly imbued, to the Japanese. The seventeenth century early stages of Nanga development were deeply influenced by Chinese traditions and philosophies and laid the groundwork for a new approach to individualism. That new individualism blossomed with Ikeno Taiga who combined both Chinese and Japanese styles to form his own individual style. Ikeno Taiga’s personal style included aspects of the Chinese literati traditons which had originally come to Japan through I Fu-chiu. Although the influences of I Fu-chiu and the Chinese literati tradition are not overtly obvious, they nevertheless do exist in the style of Ikeno Taiga
Electromagnetic Inverse Scattering of a Conducting Cylinder Buried in a Lossy Half-Space
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I Fu-chiu and Li Yung-yun: Study of Chinese Painters Who Came to Japan in Edo Period
No full textAccording to essays on painting by Edo Period Japanese painters like Kaiji Higen by Gyokushū KUWAYAMA and Sanchūjin Jōzetsu by Chikuden TANOMURA, the most favourite with the Japanese among paintings by Chinese painters who came to Japan around that time were landscapes by I Fu-chiu 伊孚九 and ink bamboos by LI Yung-yün 李用雲.
I Fu-chiu's original personal name was 海 and also he used pseudonyms 莘野,匯川,也堂, and 雲水伊人. His studio name was 養竹軒. He was born in 1698 at Shan-tang, Wu-hsien, Kiangsu Province. It is known from visa records and dated inscriptions on his works that he first came to Japan on February 11, 1720, and that he frequented Japan afterward in 1727, 1730, 1733, 1742, 1745 and 1747. Landscape pictures of his NI Tsan-like uncluttered type seem to have been liked in Japan, although he executed dense landscape compositions like those done by HUANG Kung-wang as well. More of the former type remain in Japan. The type is exemplified by “Landscape with Vacant Arbour and Fishing Man” reproduced in Pl. VIII. Nothing is known about his association with Japanese except for his connection with Heishū HOSOI, but he was a strong influence on Taiga IKENO in his early days, and also on Kaiseki NORO and Tenju KAN. Tenju KAN edited his copies of works by I Fu-chiu and Taiga IKENO and the compilation was published as a two-volume book, I Fukyū Ikeno Taiga Sansui-gafu (Landscape paintings of I Fu-chiu and Taiga Ikeno), after his death.In the present paper, passages in letters from Ransho UCHIDA, a Nagoya businessman, to Baigai TOTOKI, a painter, concerning the work of I Fu-chiu are introduced and the recorded I Fu-chiu works are listed.
LI Yung-yün's ink bamboos were as highly evaluated as I Fu-chiu's landscapes. But his biography is almost unknown. His reed-and-geese painting with dated inscription of 1725 is referred to in the draft manuscript of Nagasaki Gashi Iden (Biographical Materials Concerning the Painting History of Nagasaki) by Mr. Jūjirō KOGA, and thus we can recognize that he was in Japan in that year. Besides the above mentioned, eight works by him are recorded, and three pieces including “Bamboos” in ink, reproduced in Pl. IX, remain, but all of the eleven lack a date. There is no material which indicates that he came to Japan except for 1725. His ink bamboo paintings, the piece of Pl. IX and copies reproduced in figs. 5 and 6, show an uncluttered style and a sort of “Japanese-like” taste, a taste which is seen also in landscapes by FEI Hanyüan 費漢源. It is hard to imagine that those Chinese painters who must have been conscious of the more advanced culture of China imitated a Japanese taste. Therefore there must have been such a heretofore unknown minor style in Ming and Ch‘ing Chinese painting. Perhaps it is necessary to take the influence of such painting styles into consideration when we study the formation and development of nanga type painting in Japan.journal articl
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