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Index
Burglind Jungmann
Description: Painters as Envoys: Korean Inspiration in Eighteenth-Century Japanese Nanga
Painters as Envoys: Korean Inspiration in Eighteenth-Century Japanese Nanga
Index
Author
Burglind Jungmann
PublisherPrinceton University Press
Copyright© 2004 Princeton University Press
Stable URL: https://aaeportal.com/?id=-23814
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Index
Addiss, Stephen, 117
Ahn Hwi-joon, 53, 91, 106–7
Amenomori Hōshū, 76–77, 78, 135, 206
An Kyŏn, 15, 53, 103, 172
An Kyŏn school, 15, 18–19, 53–55, 91, 95, 103–17, 161, 207
Anp’yŏng, Prince, 52, 231n.21
Aoki Mokubei, 14, 116–17
Arai Hakuseki, 75–76, 77, 78, 82, 88, 206, 227n. 30, 235nn. 4, 8
axe-cut strokes, 17, 50, 91, 151, 161, 173
Bazhong huapu (Eight Kinds of Painting Manual), 13, 49–50, 208
Halting a Carriage among Maple Trees, 91–93, 92, 115, 163–64, 183
Landscape with Two Scholars in a Boat, 97, 98
“brush conversations,” 37, 100, 196
bunjinga, use of term, 47–48
Byun Young-sup, 179
Cahill, James, 53, 89, 103–5, 185, 187, 200
calligraphy, 19–20, 36, 37, 44, 135–37, 206
Chang Tŭngman: “Beautiful Writing in a Bamboo Pavilion,” 110–12, 111
“Silent Mountains Recalling Antiquity,” 110, 1–11
Chang Ŭngdu, 137
Chen Jiru, 58, 59
Ch’ilch’il. See Ch’oe Puk
Chinese woodblock-printed painting manuals, 9–10, 13, 49–51, 56, 57, 100, 101, 167, 211, 230n. 11. See also specific titles
Cho Ŏm, 36, 132, 147–50, 154–55, 195, 210
Cho T’ae’ŏk, 39, 45, 79–81, 85
Scholar Riding a Horse, 16, 65, 80, 80, 93, 207
Cho Yongsŏk, 40, 59–60, 68, 86, 208
Fishing in the River, 97–98, 99
Ch’oe Pu, 232n.30
Ch’oe Puk, 10, 42, 87, 123, 125, 139–47, 165, 184, 185, 196, 210, 244n. 63
eccentric behavior of, 144–45
Landscape (1748, fig. 55), 17, 40, 125, 139–42, 141, 173, 182, 208, 209
Landscape (1748, fig. 57), 145–46, 146
Landscape (1751, fig. 48), 128, 129, 147
sobriquets of, 139–40, 144–45
Summer Landscape, 40, 146, 146–47
Ch’oe Rip, 61
Chŏng Sŏn, 17, 26, 39–40, 59–60, 68, 85–91, 98, 138, 150–51, 156, 157–58, 160, 169, 171, 179, 182, 187, 190, 191, 192, 202, 203, 208, 209, 237n. 38
Fishing at a Cold Cliff, 17, 86, 87, 91
Ravine of a Myriad Waterfalls, 85–86, 87, 166 (detail), 171, 170, 183, 196, 211
Snow Landscape, 17, 74 (detail), 87, 88, 97, 175
Chosŏn dynasty, 9, 15, 49, 194, 197
relations with China in, 26, 55–56, 207
Chosŏn dynasty painting, 173
Chinese influence on, 14–16, 42–45, 48–60
periodization model for, 14–16
signing of works, 9, 19–20, 44, 61, 206
social conditions and, 17–20, 49, 224n. 16
transitional periods in, 16–17. See also An Kyŏn school; Namjonghwa; Zhe school; specific painters
Ch’ungsŏn, King of Koryŏ, 52
Confucian scholars, 20, 33, 36, 39, 45, 75–76, 121, 206
Daiten, 129, 136
Deuchler, Martina, 44
Dong Qichang, 17, 47, 48, 49, 50, 51, 52, 53, 55, 56, 58–60, 64–65, 67–71, 86, 100, 101, 147, 183, 185, 192, 207
Landscape in the Manner of Dong Yuan, 46 (detail), 69–71, 70
White Clouds over Xiao and Xiang, 60, 67, 69
Dong Yuan, 42, 45, 47, 60, 67, 100, 131, 133
Du Mu, 91–93, 115, 163–64
eccentrics, 63–64, 144–45, 234n. 56
Edwards, Richard, 187
Eight Views of Xiao and Xiang (anonymous), 91, 95, 102 (detail), 106–7, 107–8, 109, 112, 114, 169
detail, 102
Fang Xiyuan, 134
finger painting, 123, 125, 164–65, 175, 184, 209–10
“Five Peaks” screens, 19
Four Great Masters of the Yuan, 47, 51–52, 55–56, 58, 207
Gao Qipei, 165
Gashi kaiyō (Compendium of Painting History), 42, 128, 129, 139, 147, 209
Gion Nankai, 9, 14, 31, 48, 50, 75–101, 105, 110–12, 114, 121, 122, 123–24, 135, 179, 206, 207, 208, 211
Con after “Waterfall at J\llount Lu,” 94, 95, 110
Korean embassy of 1711 and, 41, 75–89, 137, 236n. 14
Korean influence on landscape painting of, 87–98, 103
Landscape after Tang Yin, 95–97, 96
Landscape with a Fisherman, 93, 93–95, 110
Landscape with Two Scholars in a Boat, 97–98, 98
method of, in combining Chinese and Korean elements, 100–101, 182
Spring Landscape (attr.), 89–91, 90, 110
Winter Landscape, 91–93, 92, 95, 98, 110, 115, 163–64, 183
Gombrich, Ernst, 203, 250n.19
Gu shi huapu (Painting Manual of Mr. Gu), 49, 50, 57, 61, 157, 208
Guo Xi, 15, 53–55, 103, 106, 112, 189–90, 203
trees after, 168, 169
Guo Zhongshu, 198
Gyokuran, 112, 123
haboku (“broken-ink” method), 183
Ham Chegŏn, 37, 38, 39, 82
Ham Sehwi, 137–39, 184
Mount Fuji, 134, 135, 137–39, 176–77
Han Junghee, 59, 64
Han Sigak, 38, 146
Harrist, Robert, 199
hemp-fiber strokes, 81, 91, 113, 154, 175
Hŏ Kyun, 58
Hŏ Mok, 57–58
Hŏ P’il, 179–80, 209
Sparse Forest and Thatched Pavilion, 178, 179–80
Hōkyō Kōami, 126, 128
Hong Ikhan, 59
Hong Set’ae, 10, 16, 20, 39, 40, 76, 79, 82–85
Landscape paintings (figs. 21–23), 83, 83–85, 84, 97, 207
Pheasants, 84, 84
Hong Sun-pyo, 14, 37, 38, 88–89, 140, 143, 144, 145, 146, 195
Huang Gongwang, 47, 50, 51, 56, 57, 61, 159, 185
Hyakusen. See Sakaki Hyakusen
Ienobu, Shōgun, 75, 77
Ike Taiga, 14, 50, 67, 85, 105, 112, 116–17, 121–85, 195, 206, 210
circle of, 122–24, 128–29
Composing a Poem on a Bridge, 167–69, 168, 175, 183
contacts of Korean embassies with, 42, 121–22, 124–37, 147
Drinking under Pines, 172, 173–75, 181
Halting a Carriage among Maple Trees, 115, , 1, 16, 163–64, 183, 184
Hermitage above a River, 175–77, 176, 181
Journey to the Red Cliff, 171–73, 172, 183, 185, 209
Korean Envovs (attr.), 28–29, 28–29, 122
Korean influence on painting style of, 114–15, 137, 146, 167–85, 202–3, 209
Landscape Illustrating a Poem bv Yuan Weizhi, 178, 179–80, 184, 185, 209
Landscapes on Fan-shaped Paper, 174, 175
letter to Kim Yusŏng from, 42, 129–35, 130, 147, 182, 195, 208
method of, in integrating elements of Korean landscape painting, 182–85
Mount Fuji after Dong Qichang, 69–71, 70, 146, 169
Mount Jingding, 181, 181
Pavilion in a Bamboo Grove, 181, 181
True Scenery of Kojima Bay, 186 (detail), 201, 202, 211
Two Gentlemen Looking at a Waterfall, 172, 173
Wondrous Scenery of Mutsu, 169, 169–72, 183, 184–85, 209, 211
Im Sugan, 39, 78, 80
Itŏ Jakuchū, 128–29
Jieziyuan huazhuan (Mustard Seed Garden Manual of Painting), 13, 49, 50–51, 88–89, 145, 152–57, 159, 208, 210, 238n. 48
Clear Summer Day under Paulownia Trees, 154, 155, 161, 192
foreword of, 192–93, 193
Trees after Li Cheng and Guo Xi, 168, 169
Jing Hao, 189, 190
Juran, 42, 47, 131, 133
Kan Tenju, 133, 135, 136, 206
Kang Hŭian, 19, 55, 159–60, 162, 185, 198, 207, 232n. 26, 251n. 40
Kang Hŭimaeng, 159, 162, 185, 207, 232n. 26
Lonely Fisherman, 15, 54, 55
Kang Hŭiŏn, 192, 198, 210–11
Kang Sehwang, 19, 53, 59, 86, 87, 137, 145, 161, 165, 179, 184, 196–98, 202–3, 209, 210–11
Landscape, 156, 157, 168
Landscape after Dong Qichang, 60, 67–69, 68–69, 71
“Southern Gate-Tower of a Mountain Fortress,” 202, 203
Tosan Academy, 190, 191, 194, 210
Kano Enshin, 45
Kano Moronobu, 45
Kano school, 20, 29, 45, 108
Kano Tan’yū, 28, 39, 63
Kano Tsunenobu, 39, 45, 79–80, 82
Karakane Kōryū, 78–79
Kara-ko (Chinese boy), 29, 30
Katsushika Hokusai: Yui, Seventeenth Station on the Tōkaidō, 32, 32–33, 36
Kawamura Minsetsu, 195
Kien. See Yanagisawa Kien
Kim Ch’angŏp, 39–40, 59
Kim Che. See Kim Si
Kim Haboush, JaHyun, 44
Kim Hongdo, 19, 39, 45, 84
Kim In’gyŏm, 34–35, 36, 40
Kim Kihong, 158
Kim Kyesŭng, 144, 147
Kim Myŏngguk, 16, 17, 36–37, 38, 39, 87, 141, 142, 146, 159–60, 182–83
Winter Landscape, 16, 17, 87, 141, 142, 182–83
Kim Sanghŏn, 58
Kim Si, 16, 19, 55, 159–60, 185, 207
Kim Yun’gyŏm, 40
“Terrace of Vanishing Clouds,” 170, 171
Kim Yusŏng, 36, 37, 87, 122, 147–54, 184
Four Seasons, 152–54, 153, 204 (detail)
Ike Taiga’s letter to, 42, 129–35, 130, 147, 182, 195, 208
Landscape (fig. 60), 150–51, 151
Landscape (fig. 61), 151, 151–52
Landscape (fig. 63), 152, 152
Landscape (fig. 66), 154, 155
Landscapes of Naksansa and the Diamond Mountains; Flowers and Birds, 147–50, 148–49, 196, 202
Scholar under a Tree, 152, , 152
Kimura Kenkadō, 42, 124, 125, 128, 133
Kinoshita Jun’an, 75, 76, 78
Kitagawa Utamaro: Playing Korean Envoys at the Niwaka Festival, 24 (detail), 29, 31
Kō Fūyō, 124, 135, 136
Koga bikō, 42, 81, 137, 147, 152, 156, 207
sketch after landscape by So Seyang, 109, 109–10
kokuga (carved painting), 178
Korean embassies, 26–45
of 1711, 41, 75–89, 137–38
of 1748, 124–29, 138–47, 195–96
of 1764, 129–37, 147–56, 195–96
cultural exchanges in, 33–45, 205–6
depictions of, 28–29, 31–33
impact on Japanese folklore of, 29–31
parades of, 27–30, 37
route of, 26–27. See also specirc envoys
Korean painting. See An Kyŏn school; Chosŏn dynasty painting; Namjonghwa; Zhe school; specirc painters
Koryŏ dynasty, 15, 55
Kuwayama Gyokushū, 195, 196
Kwŏn Kukchin, 179
Lan Ying, 147
Lang Ying, 193
Lewis, James B., 26
Li Cheng, trees after, 168, 169
Li Gonglin, 50, 199
Li Kan, 55
Li Shixing, 55
Li Song, 188
Li Yu, 193
Literary Gathering at the Fern Court (anonymous), 95, 109, 109–10
literati painting, terminology for, 47–49
Ma-Xia school, 15
Ma Yuan, 15, 50, 161
Manchus, 44, 58, 61, 206, 207
map drawing, 197–200, 203, 251n. 40
Maruyama Ōkyo, 202
Maruyama Ōshin, 32–33
Matsushita Hidemaro, 125, 129, 131, 132–33, 167
Matsuzaki Kankai, 144
Mi Fu, 15, 52–53, 55, 60, 67, 68, 87, 100
Mi Youren, 52, 152
Mi-dots, 53, 60, 68, 87, 150, 151, 158, 161, 202–3
Minagawa Kien, 125, 206
Minamoto Chokukyū, 126–28
Ming dynasty, 15, 44, 47, 49, 50, 51, 52, 56, 159, 193, 198, 206, 209, 210
minhwa (folk painting), 19, 224n. 16
Mongols, 15, 48, 52
Mount Fuji, depictions of, 130–31, 133–35, 134, 137–39, 195, 242n. 35
Mumei. See Ike Taiga
Munakata, Kiyohiko, 189
Muro Kyūsō, 75
Muromachi period, 20, 56, 183
Muxi, 56, 169
Nakai Sekizen, 33–34, 44
Nakajima Sōin, 132–33
Nakayama Kōyō, 20, 42–44, 105
Nam Kongch’ŏl, 144
Nam Yongik, 36, 38, 150
Namjonghwa (Korean literati painting), 48–49, 121, 156–65, 194
Chinese sources and, 49–60
comparison of Chinese and Japanese literati painting to, 67–71
contributions of, to creation of Nanga (summarized), 13–14, 20–21, 41–45, 100–101, 103, 205–11
earliest firmly dated works, 83–84
emergence of, 61–65
influence on Ike Taiga of, 167–85
integration of Zhe school and Southern school elements in, 16–17, 61–65, 141–42, 150–52, 182, 183, 207–8
Japanese influence on, 45, 146, 154
social conditions of artists and, 18–20, 49
use of term, 49. See also specific painters
Nanga (Japanese literati painting): Chinese sources and, 13, 100–101, 205–6, 208
comparison of Chinese and Korean literati painting to, 67–71
Korean contributions to creation of (summarized), 13–14, 20–21, 41–45, 100–101, 103, 205–11
periodization model for, 14
traditional Japanese modes and, 20, 183
use of term, 47–48, 49. See also specific painters
Nankai. See Gion Nankai
Nanzonghua (Chinese literati painting), 16, 47
two main periods of, 51–52. See also Southern school; specific painters
Ni Zan, 42, 47, 50, 51, 56, 59–60, 159, 180, 185, 234n.56
Northern school, 47, 49, 53, 55, 60, 161, 183, 207
Northern Song, 15, 51, 52–53
O Kwangun, 58
Ōbaku sect, 13, 123, 211
Omori Nobutomo, 126
Ōoka Shunboku, 42, 125, 126–29, 147, 182, 208–9
painting manuals. See Chinese woodblock-printed painting manuals
Pak An’gi, 32, 149
Pak Chiwŏn, 44, 85
Pak Tongbo, 37, 79, 81, 83, 89, 184, 208
Landscape, 81, 82, 138, 177
Landscape with a Boat, 81, 82, 177
Plan of the Residence of Prince Inp’yong (anonymous), , 198, 199
Pyŏn Pak, 37, 38, 39, 154–56
Qianlong emperor, 199, 203
Qing dynasty, 44, 51, 56, 209
Rai San’yō, 79, 116
Reisai, 232n. 31, 237n.27
Royal Painting Bureau (Korea), 18, 28, 139
Sakaki Hyakusen, 14, 21, 121, 122, 124, 172, 207, 211
Imaginary Landscape, 91, 95, 103–8, 104, 110–12, 114
Seckel, Dietrich, 18
Sesshū, 188
Shen Quan, 147
Shen Zhou, 42, 47, 51, 56, 60, 100, 154, 161, 162, 183, 193
Walking with a Staff, 158, 159, 168
Shibano Ritsuzan, 132, 133, 206
“short lines and dots texture.” See tansŏn chŏmjun
Shŭbun, 171, 232n. 31
signatures, 9, 19–20, 44, 61, 206, 229n. 57
Sim Sajŏng, 40, 50, 85, 137, 145, 151, 157–65, 169, 179
Autumn Ravine, Murmuring Water, 180, 180
Finger-Painted Landscape, 164–65, 165, 175, 184
Hafting a Carriage among Maple Leaves, 163–64, 164, 183
Landscape (fig. 71), 160, 160–61, 162–63, 183–84
Landscape (fig. 72), 161, 162, 162–63, 183–84
Landscape afier Ni Zan, 158, 159, 168
Landscape after Shen Zhou, 159, 160, 161
Summer Landscape with Mountain Hut, 161–63, 163, 183–84
“View of the Capital from a Distance,” 165, 170, 171, 209–10
Sin Kwangha, 145
Sin Kwangsu, 143
Sin Sukchu, 26
Sin Yuhan, 44, 78, 85
Sin Yunbok, 38
Sō Kan gakai kabyōshū (Family Collection for a Painting Gathering with Korean [Envoys]), 126, 126, 128, 139
So Seyang, sketch after landscape by, , 109, 109–10
Sŏam. See Kim Yusŏng
Sŏk Yuroe, 185, 209
Humble Dwelling in a Deep Forest, 177, 177–79, 180
Song dynasty, 15, 48, 50, 51, 52, 56, 169, 183, 185, 207, 209
Sŏng Sech’ang, 109
Southern school, 47–71, 81, 83, 87, 101, 133, 145, 147, 159, 160, 161, 175, 185, 207, 209
comparison of Chinese, Korean, and Japanese paintings, 67–71
impact on early Nanga of, 103, 107, 110, 112–17
integration of Zhe school and, 16–17, 61–65, 141–42, 150–52, 182, 183, 207–8
origins of, 47
terminology for, 47–49
transmission of, to Korea and Japan, 49–51
true scenery painting and, 188, 192, 196, 200, 209–10. See also Namjonghwa; Nanga; Nanzonghua
Southern Song, 15, 51, 56
Stanley-Baker, Joan, 184
Su Shi, 48, 50, 51, 52, 60, 85, 171, 173, 185
Taiga. See Ike Taiga
Takeuchi, Melinda, 122, 169, 187, 194
Tang dynasty, 47, 194, 205
Tang Hou, 51
Tang shi huapu (Illustrations for Tang Dynasty Poems), 49–50, 230 nn. 5, 9
Tang Yin, 60, 88, 95–97, 100
Waterfall at Mount Lu, 94, 95, 110
Tani Bunchō, 42, 45
Tanomura Chikuden, 14
Autumn Landscape after Ike Taiga, 101, 115–17, 116
tansŏn chŏmjun (“short lines and dots texture”), 95, 106–10
Tashiro Kazui, 26
Toby, Ronald, 30–31, 32, 77
Toyotomi Hideyoshi, 25, 26, 58, 108
Travel Palace Gaominsi, 199–200, 200
true scenery painting, 60, 85–87, 133–35, 137–39, 147–50, 165, 169–71, 182, 187–203, 209–11, 238n. 41
creation of term, 188–94, 210
Korean vs. Japanese concept of, 196–203
topographic painting and, 187, 188, 196–200
transmission of term to Japan, 194–96
Tsuji Nobuo, 48, 56, 169, 187, 189
Tsushima, 26–27, 33, 34, 36–39, 40, 45, 206, 226n.4
ukiyoe, 28, 45, 108
Uragami Gyokudō, 14, 134
Wakita Hidetaro, 87–88, 89
Wang Meng, 47, 51, 88, 100
Wang Wei, 47, 51, 100, 181, 198, 203
Wang Xizhi, 135–36
Wen Jia, 60, 100
Wen Zhengming, 47, 51, 57–58, 60, 100
Western painting, 125, 169, 202, 203
Witsen, Nicolaas, 27–28
Wu Daozi, 58, 100
Wu school, 17, 47, 50, 52, 56, 57–58, 64, 138, 159, 184, 185, 190, 199, 207, 209. See also Southern school
Wu Zhen, 47, 51
Xia Cui, 15, 161
Yamanouchi Chōzō, 14, 78–79, 88, 89, 129, 135, 136, 147, 208
Yamato-e style, 185
Yanagisawa Kien, 14, 41–42, 123, 124, 125, 179, 184, 206, 211
Eight Views of the West Lake, 91, 112–14, 113, 115
Yang P’aengson, 18, 108
Landscape, 53, 95, 104, 106–7, 109, 112
Yi Chŏng, 61–64, 65
Landscape, 63, 63
Yi Chŏnggŭn: Landscape after M i Fu, 15, 52–53, 53
Yi Fujiu, 13, 71, 185
Yi Homin, 57
Yi Hyŏn, 9, 77–78
Yi Ik, 143
Yi Inmun, 169
Yi Insang, 165
Leisurely Talk beneath Trees, 174, 175
Yi Kiryŏng: Literati Meeting at a Lotus Pond, 40, 41
Yi Kyŏngyun, 16, 19, 55, 61, 64, 185, 207
Yi Miya, 155–56
Yi Pangŏn, 80, 81
Yi Sangjwa, 15
Yi Sŏng-mi, 19, 187, 190, 194
Yi Sŏngnin, 10, 36, 42, 114, 125–28, 182, 184, 196, 197, 203, 208–9, 210
“Great Pond near the Guesthouse of Hakone Pass,” 200, 201
Landscape, 125, 139, 141, 173, 209
Landscapes, 139, 140
“Mount Fuji,” 120 (detail), 134, 135, 138–39
Plum Blossoms in Moonlight, 126, 126, 127, 139
Scholar and Servant under a Tree, 139, 140
Yi Sujang, 85, 135–37
Yi T’aeho, 187, 190, 196
Yi Tongju, 14, 45, 187
Yi Tŏngmu, 60
Yi Yo, Prince Inp’yŏng, 138, 198, 199
Landscape with a Boat, 64, 64, 81
Yi Yŏngyun, 16–17
Landscape after Huang Gongwang, 16, 17, 61, 62, 65
Yonezawa Yoshiho, 13, 14
Yŏngjo, King, 19, 45
Yosa Busan, 14, 146, 154
Yoshida Hiroshi, 14
Yoshizawa Chū, 13, 14, 176
Yu Joonyoung, 85
Yuan dynasty, 15, 48, 50–55, 81, 83, 159, 169, 183, 185, 209
Four Great Masters of, 47, 51–52, 56, 58, 207
Yuan Zhen, 179, 185
Yujian, 56
Yun Tŏkhŭi, 190, 192, 210
Yun Tusŏ, 17, 40, 61, 138, 143, 190, 198
Landscape (figs. 12 and 13), 17, 64–65, 66
Picking Herbs and Washing Fingers, 17, 64, 65
Zhao Mengfu, 50, 51, 52, 53, 58, 60, 144, 231n.21
Zhe school, 15–16, 19, 50, 91, 114, 209, 232n. 26, 237n. 27
integration of Southern school and, 16–17, 61–65, 141–42, 150–52, 182, 183, 207–8
Korean, 16–17, 19, 55, 61–65, 68, 80, 81, 87, 91, 103, 105–6, 139, 140–42, 146, 161, 162, 182–83, 185
Zhong Zhangtong, 124
Zhu Derun, 52, 53
Zhu Zhifan, 57, 58, 61, 232n.33
Zou Yigui, 203