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Houraisan@ –H—‰ŽR | ||||||
KEY WORD :@1@architecture / general terms, 2@art history / paintings | ||||||
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1@Lit.
Mt. Penglai. Ch: Penglaishan. The most famous of the three Elysian mountain-isles believed
to lie off the coast of China. Along with Fangzhangshan (Jp: Houjousan •ûäŽR) and
Yingzhoushan (Jp: Eishuusan àiFŽR), Penglaishan was inhabited by immortals, tortoises,
cranes, stags and auspicious plants including the pine, peach, plum and mushrooms
all symbols of longevity. Legends concerning Mt. Penglai were widespread from
ancient times, particuraly in Daoism. The First Emperor of the Qin dynasty (Ch: Qinshihuangdi
/ Jp: Shin Shikoutei `Žnc’é, 259-210 BC) even sent several expeditions in search
of the island. Stories of its gold and silver treasure attracted other adventurers,
although according to tradition the island could not be visited by mortals. Emperor Wu (Jp; Bu •, ?56-87
BC) of the Han dynasty had three islands with pavilions build in a pond
within his massive garden. The idea of recreating the aupicious Mt. Penglai
by building an artificial pond island within a garden was probably adopted
in Japanese gardens of the Heian period although no examples remain. Mt.
Penglai was associated with cranes, who supposedly lived there, and a tortoise,
on the back of which the island was carried. Because the 11c garden treatise
*SAKUTEIKI ì’ë‹L mentions
crane islands *tsurujima ’ß“‡, and tortoise islands *kamejima ‹T“‡, in pond gardens, this may well indicate an elaboration on the Mt. Penglai
island design. Because the evergreen pine is a symbol of longevity, garden
recreations of Penglai often include pines. Penglai appears frequently in
Japanese gardens beginning in the Kamakura period, usually represented by
a pyramidal stone *houraiseki –H—‰Î, by a group of stones hourai iwagumi –H—‰Î‘g, or an island *hourai
gantou –H—‰Šâ“‡. These elements appear both in pond style chisenshiki ’ròŽ® and dry landscape *karesansui ŒÍŽR… gardens. A related motif is the *houraibune –H—‰M, a treasure boat that travels to and from the island. Gardens in which
Penglai is the thematic focus are called *hourai
teien –H—‰’뉀, while gardens in which Penglai is a motif are
*hourai youshiki –H—‰—lŽ®. 2@ Houraisan was depicted in Chinese painting at least from the Tang dynasty and long remained a favorite auspicious symbol. In Japan, Houraisan appeared in literature from TAKETORI MONOGATARI ’|Žæ•¨Œê (The Tale of Bamboo Cutter; ca. 900). It was associated with local mountains, for instance Mt. Kumano ŒF–ì in Wakayama prefecture and became a common motif in garden and miniature rock garden, bonseki –~Î design. Later the legendary mountain became a favorite subject for Edo painters such as Maruyama Oukyo ‰~ŽR‰ž‹“ (1733-95; Higashihonganji “Œ–{ŠèŽ›, Kyoto), Nagasawa Rousetsu ’·‘òåbá (1754-99), and Tomioka Tessai •x‰ª“SÖ (1837-1924). |
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission. Œfڂ̃eƒLƒXƒgEŽÊ^EƒCƒ‰ƒXƒg‚È‚ÇA‘S‚ẴRƒ“ƒeƒ“ƒc‚Ì–³’f•¡»E“]Ú‚ð‹Ö‚¶‚Ü‚·B |
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