Eastern Art Online, Yousef Jameel Centre for Islamic and Asian Art

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Japanese Paintings in the Ashmolean Museum

A catalogue of the Ashmolean's collection of Japanese paintings by Janice Katz (published Oxford, 2003).

Japanese Paintings in the Ashmolean Museum by Janice Katz

Publications online: 43 objects

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Riverside landscape

  • Literature notes

    Chikutō's signature style of painting rocky cliffs as if they were made up of several cube-like protrusions is unmistakable. The overhanging cliff dominates the entire right side of the small composition, while on the left we are afforded a contrasting view into deep space of a calm river leading up to a distant mountain. This architectonic landscape, while meticulously constructed and somewhat repetitious in its forms, is anything but monotonous. Chikutō uses his characteristic formula to create a highly effective rhythmic composition. The colouring of the landscape is equally beautiful, made up of grey ink used in a variety of values, with black and brown accents.

    Born in Nagoya, the son of a doctor, Chikutō came under the patronage of wealthy merchant KamiyaTenyū (1721-1801), a collector of Chinese paintings. Throughout his life. Chikutō maintained that copying the Chinese masters was the most effective way to learn the art of painting, and because the works of Tang and Song dynasty masters were not available, studying them through the veneration of later artists or through printed illustrations would have to suffice. He was particu¬larly influenced by the work of Yuan dynasty master Huang Gongwang (1269-1354)' via the late Ming artist Lan Ying (1585-c.1664). Lan Ying’s squarish rock structures form the basis of the Chikutō’s style in many of his most beloved landscapes. From Mi Fu (1051-1107). Chikutō takes the idea of ink dots, though Chikutō's repetitive use of lateral dots in his work is his own interpretation.

    In addition to painting, Chikutō was a great theorist and authored the Chikutō garon, among other writings. He studied the categorisation of the Northern and Southern schools of painting, as well as placing Japanese artists into three groups based on their merit in his estimation.
  • Details

    Associated place
    Asia Japan (place of creation)
    AsiaJapanHonshūKyōto prefecture Kyoto (possible place of creation)
    Date
    1814
    Artist/maker
    Nakabayashi Chikutō (1776 - 1853) (artist)
    Material and technique
    ink and colour on paper
    Dimensions
    mount 55.5 x 40.5 cm (height x width)
    painting 28.5 x 20.5 cm (height x width)
    Material index
    Technique index
    Object type index
    No. of items
    1
    Credit line
    Purchased with the assistance the Higher Studies Fund, the Victoria and Albert Museum Fund, and with donations from the friends of P. C. Swann, 1966.
    Accession no.
    EA1966.98
  • Further reading

    Katz, Janice, Japanese Paintings in the Ashmolean Museum, Oxford, with an introductory essay by Oliver Impey (Oxford: Ashmolean Museum, 2003), no. 4 on p. 48, p. 39, illus. p. 49

Location

    • currently in research collection

Objects are sometimes moved to a different location. Our object location data is usually updated on a monthly basis. Contact the Jameel Study Centre if you are planning to visit the museum to see a particular object on display, or would like to arrange an appointment to see an object in our reserve collections.

 

Publications online

  • Japanese Paintings in the Ashmolean Museum by Janice Katz

    Japanese Paintings in the Ashmolean Museum

    Chikutō's signature style of painting rocky cliffs as if they were made up of several cube-like protrusions is unmistakable. The overhanging cliff dominates the entire right side of the small composition, while on the left we are afforded a contrasting view into deep space of a calm river leading up to a distant mountain. This architectonic landscape, while meticulously constructed and somewhat repetitious in its forms, is anything but monotonous. Chikutō uses his characteristic formula to create a highly effective rhythmic composition. The colouring of the landscape is equally beautiful, made up of grey ink used in a variety of values, with black and brown accents.

    Born in Nagoya, the son of a doctor, Chikutō came under the patronage of wealthy merchant KamiyaTenyū (1721-1801), a collector of Chinese paintings. Throughout his life. Chikutō maintained that copying the Chinese masters was the most effective way to learn the art of painting, and because the works of Tang and Song dynasty masters were not available, studying them through the veneration of later artists or through printed illustrations would have to suffice. He was particu¬larly influenced by the work of Yuan dynasty master Huang Gongwang (1269-1354)' via the late Ming artist Lan Ying (1585-c.1664). Lan Ying’s squarish rock structures form the basis of the Chikutō’s style in many of his most beloved landscapes. From Mi Fu (1051-1107). Chikutō takes the idea of ink dots, though Chikutō's repetitive use of lateral dots in his work is his own interpretation.

    In addition to painting, Chikutō was a great theorist and authored the Chikutō garon, among other writings. He studied the categorisation of the Northern and Southern schools of painting, as well as placing Japanese artists into three groups based on their merit in his estimation.
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