Dissemination And Study Of Chinese Southern School Mountain Water Painting In Edo Period Japan

"Southern Painting"(Nan Hua)is the term used in Japan in the late Ming dynasty to express the concept of Literati painting along with its study.Under the influence of late Ming early Qing dynasty Southern School painting in China,the painting world in Japan also observed its great activity.During this period,Japanese painters earnestly studied and copied styles and methods of painting of the Southern School derived from China.However,despite looking very similar in appearance and having some commonalities in understanding,there exist inherent differences in its interpretation by Japanese painters.We might even say that these differences in interpretation with those of China far outweigh their commonalities.Thus this paper seeks to discuss and examine the cultural transmission of Southern School painting from China to Japan during this period along with its transformation.In this paper,the author has chosen to discuss and examine the representative figure Dong Qichang,and specifically his discussion and treatise regarding the term and concept of Southern School painting.Dong Qichang represents the most influential figure to coin and use the term Southern School both in China and Japan.In addition his theoretical discussion on Southern School painting,including its origin and meaning is the most complete and clear.First,we will discuss Dong Qichang’s use of the term Southern School Painting and its implications.In the second part of the essay we examine how this term was absorbed by the Japanese painting world,and based on geographical and cultural factors determine why its interpretation and understanding changed.In the third part,using the three case studies,painters,“Gion Nankai”、“Ike Taiga”、“Tanomura Tikuden”,we will analyze how Japanese painters actually studied and interpreted Southern School methods in practice.We will also use these three figures to look at the overall implications of Japanese society during this time.Another question we will discuss is in regard to Literati tradition.Because Japan has no tradition of Literati,it is possible to see the result of individuals from many different backgrounds assimilating this once demographically specific painting school.Using this as a discussion point,we will discuss the relationship between Southern School painting and painters from different backgrounds.In the fourth part,we will use the three case study artists mentioned above as a means to analyze the transmission of Southern School painting in Japan and analyze the limitations and special characteristics of Japanese culture.All of this will allow us to determine differences in interpretation of Southern School painting that exist between China and Japan and elucidate the origins of its discussion and meaning with greater clarity.