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koji jinbutsuga@ŒΜŽ–l•¨‰ζ
KEY WORD :@art history / paintings
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Lit. Pictures of historical figures, a category of Chinese figure subjects, Kangakei jinbutsuga ŠΏ‰ζŒnl•¨‰ζ 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 ’|—ΡŽ΅Œ« (Seven Sages of the Bamboo Grove), *Shouzan shikou €ŽRŽlα© (Four Graybeards of Mt. Shang), *Shiai Žlˆ€ (Four Favorites), *Kokei sanshou ŒΥŒkŽOΞ (Three Laughters of the Tiger Ravine), Bunna Roshou •Ά‰€˜C€ (Wen Wang and Lu Shang), *sansan-zu ŽOŽ_} (Three Tasters of Vinegar), and the *nijuushikou “ρ\ŽlF (24 paragons of filial piety), as well as the poets Tao Yuanming (Jp:*Tou Enmei “©•£–Ύ), Li Bo (Jp:*Ri Haku —›”Œ), Du Fu (Jp:*To Ho “m•α), Bai Letien (Jp:*Haku Rakuten ”’Šy“V), and Lin Hejing (Jp:*Rin Nasei —Ρ˜a–υ). Japanese paintings of Chinese historical figures began in the Heian period with pictures such as the so-called senzui byoubu ŽR…› •— 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 ŒάŽR (Kyoto Rinzai —ΥΟ 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 ‰¦ŠG. 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 Žλ–μ”h and other artists traditionally associated with Chinese themes and styles, but also by artists of the new literati and Maruyama-Shijou lineages *Maruyama-Shijouha ‰~ŽRŽlπ”h. These subjects were particularly popular with the innovative painter Soga Shouhaku ‘]‰δεJ”’ (1730-81). *Ukiyo-e •‚’ŠG artists also created parodies *mitate-e Œ©—§ŠG, 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 Š©‰ϊ} (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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