Artist: Ike Taiga
Date: 1770
Size: 36 x 128 cm
Technique: Paper
This painting embodies Literati (Nanga) expression—the master in control of brushwork and ink tones. The brushwork, in Mi dots (a traditional East Asian stippling technique) and hemp-fiber strokes, appears to derive directly from Chinese painting manuals made available in Japan as woodblock-printed books. “Mi dots” refer to a painting technique employed by Mi Fu, a Chinese ink painter and calligrapher of the Northern Song dynasty, and involve using soft ink “dots” in an almost impressionistic manner to build up landscape forms. Based on its title, the painting is thought to be the one presented to scholar-painter and collector Kimura Kenkadō (1736–1802) for a shogakai, or “calligraphy and painting gathering,” in 1770 at the Ryūsenji subtemple of Tennōji. Kenkadō is thought to have “rejected” this painting because he expected a more elaborate work on silk.
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