The Influence Of Painting Study Writings Of Ming And Qing Dynasties On Buncho Gadan

The Ming and Qing dynasty eastern paintings,paintings,and painting study writings contributed to the establishment and development of Japanese Nanga(literati painting).At present,there is a relatively complete research on the circulation and reproduction of Ming and Qing dynasty painting manuals in Japan,but little attention has been paid to painting scholarship.In the 18 th century,Japan was inspired by the literary and academic thinking of the Ming and Qing dynasties,and Chinese literature was in full bloom,and the style of examination was gradually rising.At this time,the attention of Nanga painters also gradually shifted from the earlier Song Dynasties’ painting theories to the Ming and Qing dynasties’ painting writings.The theories of literati painting,literati escapades,and appreciation contained in the Chinese writings that further deepened Japanese painters’ understanding of Chinese literati painting.Such a cultural environment was the product of the "Buncho Gadan" written by Tani Buncho in 1811.In this book,he realized that most of the Chinese paintings he saw were forgeries,but he became the Edo area first literati painter through creation.And he criticizes the brushwork of his predecessor,Ikeno Taiga.So,the contradiction revealed is at the heart of this paper: how did Tani Bunchō reflect the literati in his Nanga paintings,and how did he improve on brushwork? Through Buncho Gadan and his Nanga paintings,this paper first examines Tani Bunchō approach to building a scribe’s elegance in his Nanga paintings,and then further examines Tani Buncho’s understanding and using of the literati brushwork.Through the above examination,this paper focuses on whether Ming and Qing dynasties’ painting writings also played a great role in it,or only remained as an influence on the writing of Buncho Gadan,thus contrasting the differences in the influence by Ming and Qing dynasties’ eastern painting writings,painting manuals,and paintings.