Bamboo, ink painting by Chikuto Nakabayashi (ca. 1830).

“dragons in the clouds” by

Nakabayashi Chikutō 中林竹洞 (1776 - 1853).

Landscape, Chikuto Nakabayashi, 1808, Cleveland Museum of Art: Japanese Art

The Nanga, or "Southern School" painters of 17th- and 18th-century Japan were greatly influenced by Chinese culture. The subjects and styles of their work reflected the contemporary Japanese taste for imported Chinese objects and learning. A common practice among Nanga painters was the exchange of small paintings and calligraphies. They also celebrated special gatherings of artist-friends by producing individual sheets that were then gathered together in albums. The sheets shown here were part of such a gathering. Size: Sheet: 25.1 x 17.1 cm (9 7/8 x 6 3/4 in.) Medium: album leaf; ink and color on ivory silk

https://clevelandart.org/art/1972.117.1.6

By Nakabayashi Chikuto (1776-1853)

yamamoto baiitsu

He was born in Nagoya, son of the sculptor Yamamoto Yumigiemon. His father was in the service of the court of the Tokugawa lords of the Owari Domain.[1]

He was close friends with the painter Nakabayashi Chikuto (1776-1853).

Yosa Buson - Casas cubiertas de nieve en la noche

Casas cubiertas de nieve en la noche (紙本墨画淡彩夜色楼台図)

Yosa Buson (1716-1783)

Período Edo

Japón

Rollo colgante, tinta y color sobre papel, 27,9 x 130,0 cm

Comentarios de Matthew Larking “Yosa Buson: detached or mundane?”

La fama  que Yosa Buson (1716-1783) tuvo como pintor y poeta haiku rápidamente se erosionó luego de su muerte. Aunque su reputación poética fue restaurada en el siglo XIX, solo luego de la Segunda Guerra Mundial sus pinturas volvieron a ser elogiadas. Ya en 1801, el sinófilo Nakabayashi Chikuto había expresado recelos sobre la obra de Buson notando  “qué está mal en su mundano haikai (verso japonés humorístico)”. Mientras que Buson había trabajado sus pinturas dentro de la tradición china de pintores intelectuales –la cual celebraba el alejamiento de la sociedad y era intolerante con lo mundano-, también había introducido el humor a los motivos tradicionales chinos. Lo que Chikuto estaba señalando era la fricción entre lo que era apropiado en China y en Japón.

Buson abandonó su hogar natal en las afueras de Osaka para irse a Edo (lo que hoy es Tokio) a la edad de 20 años para estudiar haiku en el estilo de Matsuo Basho (1644-1694). Con la muerte de su maestro siete años después, Buson pasó diez años como un monje budista itinerante. Luego, abandonando su vida religiosa, se estableció en Kyoto y usó la pintura como medio de vida. El poco dinero que lograba tener impartiendo lecciones de haiku y publicando versos parecería indicar una falta de calidad, pero de hecho lo contrario era cierto. Buson es considerado como el más distinguido poeta de su edad, solo su maestro Basho puede comparárselo.

Pero los inicios de Buson a la pintura fueron mucho menos favorables. La pintura de la tradición intelectual china celebra la falta de destreza técnica que da lugar a lo espontáneo e impulsivo. Pero sus primeros trabajos fueron considerados de menor nivel. En “paisaje en el estilo de Wang Shuming” (1760) las pinceladas son confusas –incluso torpes- lo cual tiene efectos negativos en la representación de las montañas en el primer plano y detrás. El historiador del arte James Cahill nota que la inscripción en el trabajo: “Pintado mientras estaba borracho he logrado imitar los métodos espontáneos de Wang Shunming” probablemente deben interpretarse como un “camuflaje para su ineptitud”. Sus verdaderos logros no llegarían hasta el final de su vida, al punto que fue incluido en una lista de los pintores más populares de Kyoto en 1768. La transición tuvo muchos orígenes: la pintura haikai de Sakaki Hyakusen –un precursor del estilo de Buson-, los bocetos cómicos de historias tradicionales japonesas de la región de Otsu , el estilo cuidadoso y decorativo del pintor chino Shen Nanpin, quien visitó Japón, y finalmente la habilidad representativa de la Escuela Zhe de China y la tradición de la pintura sur de ese país.

Buson comenzó a pintar Haiga, imágenes simples combinadas con versos de 17 sílabas, hacia sus 60 años, uniendo tradiciones chinas y japonesas. Su alejamiento de la pintura china logró incorporar motivos que hubieran sido improbables en aquel país. En la tradición intelectual china, la ciudad era vista como un lugar vulgar y mundano, no apto para ser representado en la pintura; en cambio un motivo más adecuado era la representación de retiros en las montañas rodeados de la naturaleza. La pintura tardía (sin fecha) “Casas cubiertas de nieve en la noche” representa una imagen de una ciudad cubierta de blanco con tonalidades ocre dentro de las casas, sugiriendo actividad de los pueblerinos luego de un día de trabajo.

Estos cambios de Buson entre lo vulgar y lo elegante, son paralelos a su propia renuncia de la vida religiosa (y el alejamiento del mundo que conlleva) a una vida más mundana en la ciudad. Esas tensiones son expuestas en las palabras propias del poeta sobre su propia obra “el Haikai valora el uso de un lenguaje mundano para alejarnos de lo mundano, o usar un medio de lo mundano sin por ello rebajarse a su nivel.

 Detalle del color dentro de las casas:

 Detalles de la nieve:

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Yamamoto Umeso (1783-1856) is a South painter in Nagoya in the late Edo period. Nakabayashi Take-dong and others, after which I went out to Kyoto and studied painting. I was good at brilliant coloring flower and bird painting, but this work is one of them. The flowers of the four seasons blooming in colorfully, insects such as butterflies and dragonflies fluttering or spreading feathers and drawing the color of the illusion world abundantly.

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He was born in Nagoya, son of the sculptor Yamamoto Yumigiemon. His father was in the service of the court of the Tokugawa lords of the Owari Domain.

He was close friends with the painter Nakabayashi Chikuto (1776-1853).

Two of his paintings have been designated as important cultural property.

Yamamoto Baiitsu, de son vrai nom: Yamamoto Shinryo, noms de pinceau : Baiitsu, Shun-En, Tendô-Gaishi, Gyokuren, Baika, Yûchikusôkyo, né à Nagoya. XVIIIᵉ ‑ XIXᵉ siècles. Japonais. Peintre d’oiseaux, paysages, fleurs. Dessinateur.

Yamamoto Baiitsu was originally published on HiSoUR Art Collection

Landscape, Chikuto Nakabayashi, 1808, Cleveland Museum of Art: Japanese Art

The Nanga, or "Southern School" painters of 17th- and 18th-century Japan were greatly influenced by Chinese culture. The subjects and styles of their work reflected the contemporary Japanese taste for imported Chinese objects and learning. A common practice among Nanga painters was the exchange of small paintings and calligraphies. They also celebrated special gatherings of artist-friends by producing individual sheets that were then gathered together in albums. The sheets shown here were part of such a gathering. Size: Sheet: 25.1 x 17.1 cm (9 7/8 x 6 3/4 in.) Medium: album leaf; ink and color on ivory silk

https://clevelandart.org/art/1972.117.1.6

Landscape, Chikuto Nakabayashi, 1808, Cleveland Museum of Art: Japanese Art

The Nanga, or "Southern School" painters of 17th- and 18th-century Japan were greatly influenced by Chinese culture. The subjects and styles of their work reflected the contemporary Japanese taste for imported Chinese objects and learning. A common practice among Nanga painters was the exchange of small paintings and calligraphies. They also celebrated special gatherings of artist-friends by producing individual sheets that were then gathered together in albums. The sheets shown here were part of such a gathering. Size: Sheet: 25.1 x 17.1 cm (9 7/8 x 6 3/4 in.) Medium: album leaf; ink and color on ivory silk

https://clevelandart.org/art/1972.117.1.6

Landscape, Chikuto Nakabayashi, 1808, Cleveland Museum of Art: Japanese Art

The Nanga, or "Southern School" painters of 17th- and 18th-century Japan were greatly influenced by Chinese culture. The subjects and styles of their work reflected the contemporary Japanese taste for imported Chinese objects and learning. A common practice among Nanga painters was the exchange of small paintings and calligraphies. They also celebrated special gatherings of artist-friends by producing individual sheets that were then gathered together in albums. The sheets shown here were part of such a gathering. Size: Sheet: 25.1 x 17.1 cm (9 7/8 x 6 3/4 in.) Medium: album leaf; ink and color on ivory silk

https://clevelandart.org/art/1972.117.1.6