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henkaku no kei 辺角の景 | ||||||
KEY WORD : art history / paintings | ||||||
Also called zanzan jousui 残山剰水 (Ch: canshan
shengshui) or left-over mountains and remaining water. A compositional style
associated with Southern Song Academy landscape painting *intaiga
院体画 in which the pictorial components are reduced and compressed into one corner
henkaku 辺角 or half of the painting surface. Paintings usually display
only sparse landscape elements such as a single large rock and tree on an otherwise
empty surface. The composition type had political connotations during the Southern
Song dynasty, when all but the south of China was controlled by
foreign rulers. The style was pioneered by the artists Ma Yuan (Jp: Ba En 馬遠,
act. late 12c-early 13c) and Xia Gui (Jp:Ka Kei 夏珪; act. 1194-1224) based
on a manner of composition originated by Li Tang (Jp: Ri Tou 李唐, late 11c-early
12c). Ma Yuan, called One-corner Ma (Ch: mayijiao Jp:ba no ikkaku 馬一角),
and Xia Gui, also known as One-half Xia (Ch: xiayibian Jp:ka no ippen
夏一辺), were imitated in countless Ma-Xia school, Bakaha 馬夏派 works, and further
influenced Ming dynasty painters of the Zhe school, Seppa 浙派. Japanese painters,
beginning in the Muromachi period, particularly early 15c artists working in the
*shigajiku 詩画軸 format,
were much influenced by this style. The influence is also seen in many Kanou school
*Kanouha 狩野派 compositions. |
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(C)2001 Japanese Architecture and Art Net Users System. No reproduction or republication without written permission. 掲載のテキスト・写真・イラストなど、全てのコンテンツの無断複製・転載を禁じます。 |
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