- Compare landscape painting by Guo Xi’s with woodblock print of Mt. Fuji by Hokusai. Consider the following in your discussion: patrons, producers, materials, production, function and meanings.
– Early Spring, Old Trees, Level Distance (hand scrolls)
– Fugaku Sanju-Rokkei (Thirty-Six Views of Mt. Fuji)
e.g. The Great Wave off Kanagawa
Both Hokusai and Guo Xi captured the essence of the landscapes they saw (? Not sure yet)
Clear differences in influences, mediums, style/technique and context of landscape painting
Edo Period Artist
Background: Katsukawa school, cutter of woodblocks, Tawaraya Sori School, Kano and Tosa Schools (Chinese-style painting + native Japanese yamato-e)
Influenced by Chinese, Western and Dutch styles of art
Chinese landscape painter from Henan Province
Northern Song Dynasty
Court Professional, a literatus, well-educated painter
-There are more differences between the landscape paintings by Guo Xi and Mt. Fuji by Hokusai (?)
- Differences between Guo Xi and Hokusai’s use of techniques and approach to landscape painting
use of color and pigment,
interpretation of a picture (context),
deep pictorial space, removed and high viewpoint (yamato-e)
enhance 3D via placing one foot in front of the other.
rooted in tradition (academic scholar) – studies the trees, nature etc.,
use of tonal varieties of ink,
brush strokes: thin beginning and end, broad centers,
landscape art not bound by nameable place,
approach towards space and spatial recession- through motifs
- Similarities between Guo Xi and Hokusai’s approach to landscape painting– yamato-e’s Chinese characteristics (rhythmic repetition)
– deep pictorial space
– execution based on fundamental knowledge of perception of space and depth
(academic backgrounds, studies from schools (Hokusai)
- There is a distinction between Hokusai’s woodblock prints and Guo Xi’s handscroll landscape art
Bouquillard, Jocelyn. Hokusai’s Mount Fuji. New York: Abrams, 2007.
Bell, David. Hokusai’s Project: The Articulation of Pictorial Space. England: Global Oriental, 2007.
White, Julia, Mochinaga Brandon, Reiko and Woodson, Yoko. Hokusai and Hiroshige: Great Japanese Prints from the James a Michener Collection, Honolulu Academy of Arts. Seattle, Washington: University of Washington Press, 1999.
Mayor, A. Hyatt and Betchaku, Yasuko. “Hokusai.” The Metropolitan Museum of Art Bulletin New Series Vol. 43, No. 1 (1985): 1-2+4-48. Accessed March 3, 2016. http://www.jstor.org.ezlibproxy1.ntu.edu.sg/stable/pdf/3263896.pdf
E. Guth, Christine. Hokusai’s Great Wave: Biography of a Global Icon. Honolulu, Hawaii: University of Hawaii Press, 2015. http://www.jstor.org.ezlibproxy1.ntu.edu.sg/tc/verify?origin=%2Fstable%2Fpdf%2Fj.ctt13x1kh0.6.pdf
E. Guth, Christine. “Hokusai’s Great Waves in Nineteeth-Century Japanese Visual Culture.” The Art Bulletin Vol. 93, No. 4 (2011): 468-485. Accessed 3 March 2016. http://www.jstor.org.ezlibproxy1.ntu.edu.sg/tc/verify?origin=%2Fstable%2Fpdf%2F23208270.pdf
Vanderstappen, Harrie. The Landscape Painting of China: Musings of a Journeyman. Gainesville: University Press of Florida, 2014.
Foong, Ping. “Guo Xi’s Intimate Landscapes and the Case of “Old Trees, Level Distance” Metropolitan Museum Journal Vol. 35 (2000): 87-115. Accessed March 3, 2016. http://www.jstor.org.ezlibproxy1.ntu.edu.sg/stable/pdf/1513027.pdf
Jang, Scarlett. “Realm of the Immortals: Paintings Decorating the Jade Hall of the Northern Song.” Ars Orientalis Vol. 22 (1992): 81-96. Accessed March 3, 2016. http://www.jstor.org.ezlibproxy1.ntu.edu.sg/stable/pdf/4629426.pdf
Lawton, Mary. “Guo Xi [Kuo His; zi Shunfu]” Oxford Art Online. January 30, 2002. http://www.oxfordartonline.com.ezlibproxy1.ntu.edu.sg/subscriber/article/grove/art/T035701?type=biography&type=article&search=quick&q=Guo+Xi&pos=1&_start=1#firsthit