koji jinbutsuga　故事人物画

KEY WORD :　art history / paintings

Lit. Pictures of historical figures, a category of Chinese figure subjects, Kangakei jinbutsuga 漢画系人物画 including both actual and legendary scholar-recluses, literary men, and immortals. Although all of the subjects are found in Chinese culture, and often based on pictorial prototypes in the Chinese painting tradition, these themes proved far more popular in Japan than they were in China. Notable koji jinbutsuga themes include *chikurin shichiken 竹林七賢 (Seven Sages of the Bamboo Grove), *Shouzan shikou 商山四皓 (Four Graybeards of Mt. Shang), *Shiai 四愛 (Four Favorites), *Kokei sanshou 虎渓三笑 (Three Laughters of the Tiger Ravine), Bunna Roshou 文王呂商 (Wen Wang and Lu Shang), *sansan-zu 三酸図 (Three Tasters of Vinegar), and the *nijuushikou 二十四孝 (24 paragons of filial piety), as well as the poets Tao Yuanming (Jp:*Tou Enmei 陶淵明), Li Bo (Jp:*Ri Haku 李伯), Du Fu (Jp:*To Ho 杜甫), Bai Letien (Jp:*Haku Rakuten 白楽天), and Lin Hejing (Jp:*Rin Nasei 林和靖). Japanese paintings of Chinese historical figures began in the Heian period with pictures such as the so-called senzui byoubu 山水屏風 Tokyo National Museum showing the Tang dynasty poet Haku Rakuten, living in retirement. The genre achieved increased popularity in the Muromachi period due largely to the sinophile tastes of Gozan 五山 (Kyoto Rinzai 臨済 sect) monks and military men. The depiction of koji jinbutsuga increased in the late 16c and 17c, being rendered in both ink monochrome and polychrome on gold in formats ranging from fans to sliding doors *fusuma-e 襖絵. In the 18c and 19c, koji jinbutsuga continued to expand in popularity and were painted by a wide range of artists in a variety of styles. They were painted not only by Kanou school *Kanouha 狩野派 and other artists traditionally associated with Chinese themes and styles, but also by artists of the new literati and Maruyama-Shijou lineages *Maruyama-Shijouha 円山四条派. These subjects were particularly popular with the innovative painter Soga Shouhaku 曽我蕭白 (1730-81). *Ukiyo-e 浮世絵 artists also created parodies *mitate-e 見立絵, frequently showing renowned Chinese figures in the guise of contemporary courtesans. While many koji jinbutsuga often had didactic or political implications and thus may be classified as *kankai-zu 勧戒図 (pictures of advice and admonishment), the standard treatment of these themes in Japan suggests that they also represented ideals of aesthetic reclusion. Japanese artists often freely combined koji jinbutsuga subjects, mixing unrelated motifs in a single composition and pairing themes that had unrelated implications in their original context. Moreover, Japanese artists frequently depict these ancient Chinese figures engaged in scholarly pursuits and the enjoyment of nature.

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