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GADOU YOUKETSU@‰æ“¹—vŒ
KEY WORD :@art history / paintings
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Lit. Secret Principles on the Way of Painting, a late 17c discourse on painting *garon ‰æ˜_ dictated by Kanou Yasunobu Žë–ìˆÀM (1613-85) to his disciple Shouun ¹‰^ (1637-1702), presenting the fundamental principles of the Kanou school *Kanouha Žë–ì”h. Written in 1680, GADOU YOUKETSU is divided into eighteen sections and an introduction. Intended as a secret manual, the book was given as a graduation certificate to Kanou students who had mastered its principles and techniques. Yasunobu makes extensive use of Chinese texts, attempting to ground the Kanou school style in the theoretical writing of Chinese masters. Along with technical instructions, Yasunobu discusses the Kanou approach to painting. According to the theory of talent and training, artists are separated into those with natural skill and those whose skill derives from training and the study of manuals containing the teachings of past masters. Yasunobu favors the later type of artist because their works are impersonal and thus timeless, while the skills of creative artists die out with them. A brief survey of the eighteen chapters reveals the basic function and ideology of the work : 1 the Six Laws based on Zhang Yenyuan's (Jp: Chou Gen'en ’£•F‰“, fl.mid 9c) Lindai Minghaji (Jp: REKIDAI MEIGAKI —ð‘ã–¼‰æ‹L; Record of Famous Painters), focusing on the creation of spirit through refinement of the brush and selflessness ; 2 the artist must harmonize the spirit of his painting with the spirit of nature by first harmonizing his own spirit with that of nature ; 3 the cosmic forces do not need to borrow artificial colors--Chinese ink contains the five colors which express the myriad changes of the four seasons ; 4 when drawing circles and straight lines, strokes should not be too quick nor too slow, too thick nor too thin ; 5 the study of the painting of Gu Kaizhi (Jp: Ko Gaishi ŒÚí¨”V), a 5c Chinese painter who specialized in portraits and figure paintings ; 6 a discussion of the Three Classes *sanpin ŽO•i based on Lindai Minghaji and Jing Hao's (Jp: Kei Kou Œt_ fl.ca.870-930) Bifaji (Jp: HIPPOUKI •M–@‹L ; Laws of the Brush) ; 7 the Six Laws rikuyou ˜Z—v from Xie He's (Jp: Sha Kaku ŽÓŠq, fl. late 5c-early 6c) Guhua Pinlu (Jp: KOGA HINROKU ŒÃ‰æ•i˜^ ; Classification of Painters) ; 8 the Six Essentials from Bifaji and Han Zhuo's (Jp: Kan Setsu ŠØÙ, fl.ca.1095-1125) Shanshui Chunquanji (Jp: SANSUI JUNZENSHUU ŽR…ƒ‘SW ; Chunquan's Compilation on Landscape) ; 9 the Three Illnesses sanbyou ŽO•a from Shanshui Chunquanji, Bifaji, and Guo Ruoxu's (Jp: Kaku Jakkyo ŠsŽá‹•, fl.ca.1070) Tuhua Jianwenzhi (Jp: TOGA KENMONSHI }‰æŒ©•·Ž ; Experiences in Painting) ; 10 the theory that without assiduous attention to likeness in color of fine detail, superior artist can produce a sense of naturalness ; 11 that one should paint with peace of mind, fresh spirit, freedom of movement, proper rules and sufficient tools ; 12 a description of how to paint Buddhist images ; 13 and how to paint followers of the way, douin “¹l or Taoists ; 14 instructions on painting holy men hijiri ¹ or Buddhist saints ; 15 landscape ; 16 scenery of the four seasons ; 17 the painting of Wu Dazoi (Jp: Go Doushi Œà“¹Žq), an 8c Chinese master of brushwork ; 18 the landscape paintings of 11c Chinese painter Yen Su (Jp: En Shuku@‰l).
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission.
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