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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