Theory of Art Creation 1: "Analysis of Gasetsu by Hasegawa Tōhaku"

I plan to write mainly about pottery in this blog, but I would also like to develop an essay on art in general if possible. However, I think there has been a tendency to avoid talking about anything systematically when it comes to Japanese art.

In the ancient text, the Genpaku Sotan Documents compiled by Sen Soza, it was clearly stated that "it is not good to convey things in writing."

When I was practicing tea ceremony, I was forbidden from taking notes during the lesson.

Even if I try to write something down in a diary after practice, I end up forgetting it right away.

So, when did art theory begin? Many researchers point to "Gasetsu" by Nippon Express, but it was preceded by " Kimidai Kansochoki ."

This is a transcript of the records kept by Noami and Soami, and although there is some reference to tea ceremony utensils, its main focus is on how to decorate the Shogun's study.

There are over 150 copies and published versions of "Kimidai Kansochoki," but no original.

Considering this, I believe that the value of "Gasetsu," the original of which remains at Honpoji Temple, is extremely important.

This record dates back to when Tohaku was 54 years old and Nittsu Shonin was around 43 years old. It seems that its existence was not known until it was published in the inaugural issue of "Bijutsu Kenkyu" in January 1932.

Hasegawa Tōhaku, who is said to have come to Kyoto around 1572, painted a portrait of Rikyu of the Omotesenke school.

He started out as a painter of Buddhist paintings, but his talent was outstanding.

His painting skills were well-received among the nobles, and eventually Kanō Eitoku and his son visited Kanshūji Harutoyo.

I even went so far as to directly plead with him, saying, "Please stop letting Tōhaku paint."

By the way, it is a fact that many of the painters at that time were from the Hokke sect. At that time, the Hokke sect had strict rules, such as not allowing people to marry people from different sects, so was there any significance in the fact that talented artists gathered in the Hokke sect?

Nittsu's father was Aburaya Tsunekin, a famous tea ceremony utensil merchant in Sakai.

I tried looking through old books to find out more about Aburaya Tsunekin, but I couldn't find much detailed information.

Hasegawa Tōhaku seems to have called himself "the Five Generations of Sesshū."

Hasegawa Tohaku's "Portrait of Saint Nichiren" (owned by Daihoji Temple)

Sesshu is highly valued in the history of Japanese art because he was the first Japanese person to travel to China and be recognized as a painter.

Amanohashidate by Sesshu (Kyoto National Museum)

However, if we quote from "Gasetsu," the history of Japanese art can be traced back to Josetsu . The order is Josetsu ⇒ Sobun ⇒ Sesshu.

Gourd and sweetfish by Josetsu, ink and wash on paper, 111.5 x 75.8 cm, Muromachi period (15th century), Taizo-in Temple

In addition, Sobun had five disciples, of which three are famous: Sesshu, Noami, and Oguri Sotan.

The order is Noami ⇒ Geiami ⇒ Soami, and then Sotan ⇒ Kano Motonobu.

It is often emphasized that Sobun's greatest value is that he was the teacher of Sesshū, but his work can also be traced back to the origins of the Kano school.

It seems that it was important to Kano Motonobu (1477?-1559) to be able to reproduce the style of Chinese painters.

In order to educate cultural figures, the early Kano school distinguished between paintings of true (Ma Yuan, Xia Gui, Sun Junze), running (Muxi), and grass (Gyokukan).

As the saying goes, "Combining Chinese and Japanese styles," the Kano school went on to create a new realm of painting.

Noami was an artist and an accomplished ink-wash painter, but his most important job was managing the treasures that had come from China. He was highly valued for his skill at managing these treasures. He was particularly knowledgeable about tea ceremony utensils and Chinese items.

Noami Lotus Painting (Masaki Art Museum) A hanging scroll, ink painting on paper, an Important Cultural Property. It features a self-composed waka poem and a signature dated the artist's 75th year.

By the way, what is the best ideal for landscape painting?

In Japan, works with a humid atmosphere such as Muqi and Gyokukan are popular,

In China, Guo Xi's "Early Spring" seems to be the ideal.

It’s very intense and powerful.

In Chinese painting, the highest grade is called the divine grade, the next the wonderful grade, and the next the noble grade.

It is truly a divine item.

So, what is the most frequently mentioned part of this theory about Tohaku's painting? Perhaps it is the description that describes it as a "quiet painting."

On April 26, 1592, when Mizuochi Muneyoshi of Sakai visited Nittsu Shonin at Honpo-ji Temple in Kyoto, the monk showed him a painting of "Birds on a Willow" by Ryokai, which he owned, and praised it, saying, "It is a very tranquil painting." Nittsu Shonin, who heard this, was impressed, saying, "It is an interesting compliment," even though it was only a one-word criticism. At this time, Tohaku, who was nearby, also added, "This is only natural, since snow is a tranquil thing. From this, I think we should really think about what a quiet painting is, and what a busy painting is. Paintings such as "Evening Rain at Xiaoxiang" and "Evening Bell at Enji Temple" from Gyokukan's Eight Views of Xiaoxiang are tranquil. "Snow and the Clear Storm at Yamaichi" is busy. In general, paintings such as Ugetsu are tranquil."

Guo Xi's "Early Spring" is a dynamic painting, but I believe that for Japanese people, a quieter painting resonates more with their hearts and evokes empathy.

My pen name, Nishimura Kazumi, comes from Matsudaira Fumai, but for the time being I would like to carefully read the Nittsu publication "Gasetsu."