The Art Institute of Chicago

NotesSource: Art Institute of Chicago Museum Studies, Vol. 22, No. 1, Asian Art at The ArtInstitute of Chicago (1996), pp. 94-96Published by: The Art Institute of ChicagoStable URL: http://www.jstor.org/stable/4104360 .

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Notes

PAL, "Sculptures from South India in The Art Institute of Chicago," pp. 20-35.

i. See V. Dehejia, Art of the Imperial Cholas (New York, 19go), pp. i-io.

2. Brahmin is the name of the highest caste among the Hindus. A priest in orthodox Hindu worship must he a hrahmin.

3. See M. W Meister, ed., Encyclopaedia of Indian Temple Architecture: South India, Lower Dravidadesa (New Delhi, 1983), pp. 199-213. The chapter on the

temples of the Irrukuvels was written hy K. V. Sourdara Rajan.

4. For an extensive discussion of the concept, see P Pal, "The Image of Grace and Wisdom," in OrientalArt n.s. 28, 3 (1982), pp. 244-55.

5. A. K. Coomaraswamy, The Dance of Siva (Bomhay, 1948).

6. Apart from Coomaraswamy's study (note 5), the two most accessihle works are C. Sivaramamurti, Nataraja in Art, Thought and Literature (New Delhi, 1974); and A. Gaston, Siva in Dance, Myth and Iconography (New Delhi, 1992).

7. As quoted in New Delhi, National Museum, Masterpieces of Early South Indian Bronzes, cat. hy R. Nagaswamy (1983), p. 63. Readers interested in

learning more ahout Chola hronzes should also see R. Nagaswamy, "South Indian Bronzes," in The Great Tradition: Indian Bronze Masterpieces (New Delhi, 1988), pp. 142-79.

8. Bronze, acc. no. F72.-3.2.S; and stone, F75.i7.3.S.

LITTLE, "Early Chinese Paintings in The Art Institute of Chicago," pp. 36-53.

i. Puhlished in New York, C. T Loo Gallery, Chinese Frescoes of the Northern

Song, exh. cat. by C. T. Loo (1949), pl. 3; and The Art Institute of Chicago Annual Report 9ggo-g91 (990), p. 4.

2. Wai-kam Ho, "A Five Dynasties Dated (951-953) Group of Esoteric Buddhist

Paintings from Cisheng Si, Wen Xian, Northern Henan Province," unpuh. is. (at press), pp. 5-6. I am grateful to Joseph Chang for providing me with a draft of this important paper.

3. Ihid., pp. 8-9.

4. For a discussion of this and related fragments in the Nelson-Atkins Museum, see Laurence Sickman, "An Early Chinese Wall-Painting Newly Discovered," Artibus Asiae 15, 1-2 (0952), pp. 137-44.

5. For an example of a Liao-dynasty hodhisattva in marhle (from Baoding Xian, Hehei province), see San Francisco, Asian Art Museum, Chinese, Korean

andJapanese Sculpture in The Avery Brundage Collection, cat. ed. hy Ren6 Yvon Lefehvre d'Argencf (1974), no. 132; for examples in wood, see Huayan Si

(Beijing, 1980), pls. 44-57.

6. Puhlished in Charles E Kelley, "A Chinese Buddhist Fresco," Bulletin of The Art Institute of Chicago 25, II (Nov. 1931), pPP. 1O-i; and The Art Institute of

Chicago, Handhook of the Department of Oriental Art (933), fig. 25. This large painting, a 1931 gift to the museum from the Japanese dealer Yamanaka Sadajir6, is now undergoing a thorough technical examination in preparation for conser- vation of its fragile surface. A mate to this painting is in The Detroit Institute of Arts; see "A Chinese Fresco of Kuan-yin," Bulletin of The Detroit Institute of Arts 9, 7 (Apr. 1928), pp. 81-83.

7. See Zhongguo meishu quanji, huihua bian, vol. 12: Mushi hihua (Shanghai, 1985), pl. 157 (from a Liao tomh in Inner Mongolia dated to io8o, excavated in 1972) and pl. 174 (from a Liao tomh in Hehei province dated to 1116, excavated in 1974). For a Jin-dynasty (1115-1234) tomh in Hehei with wall paintings in a

similar style and also featuring thick, rectangular outlines around the individ- ual scenes, see ihid., pl. 179.

8. See Susan Bush, "Five Paintings of Animal Suhjects or Narrative Themes and Their Relevance to Chin [in] Culture," in Hoyt Tillman and Stephen West,

eds., China UnderJurchen Rule (Albany, N.Y, 1995), fig. 2. The Art Institute's painting is also close in style to a handscroll by Zhao Lin, a twelfth-century Chinese court painter in service to the partly sinified Jin dynasty (1115-1234), which depicts the six favorite steeds of the Tang emperor Taizong (reigned 627-49). The entire scroll is reproduced in Yiyuan duoying 30 (1985), pp. 35-41.

9. See Jerome Silbergeld, "In Praise of Government: Chao Yung's Painting 'Noble Steeds,' and Late Yuan Politics," Artibus Asiae 46, 2 (1985), pp. 159-98.

io. This technical detail also appears in a larger group of Buddhist wall-painting fragments in the Musfe Guimet, Paris. The Musfe Guimet fragments, which are unpublished, are dated to the fourteenth century. The technique of using relief lines in wall paintings, however, probably originated in the Northern Song dynasty. The Art Institute's fragment is similar in style to depictions of women in the wall paintings of the Kaihua Si, a Northern Song-dynasty Buddhist temple in Gaoping Xian (Shanxi province); see Kaihua Si Songdai bihua (Beijing, 1983), pls. 8 and 1ii.

ii. Published in The Arts Club of Chicago, Chinese Art from the Collection of James

W. and Marilynn Alsdorf,

exh. cat. (1970), no. PI.

12. See Herbert Franke, "Two Yuan Treatises on the Technique of Portrait Paint- ing," OrientalArt o.s. 3, i (1950o), pp. 29-30.

13. The scroll has been published in Cleveland Museum of Art, Chinese Art Under the Mongols: The Yuan Dynasty (1279-I368), exh. cat. by Sherman E. Lee and Wai-kam Ho (1968), no. 2o5; and cited in James Cahill et al., An Index to Early Chinese Painters and Paintings: T'ang, Sung, and Yuan (Berkeley, Calif.,I98O), p. 370.

14. Published in Venice, Palazzo Ducale, Mostra d'arte cinese: Settimo cente- nario di Marco Polo, exh. cat. (954), no. 792; Bradley Smith and Wan-go H.C. Weng, China: A History in Art (New York, 1972), pp. 204-07; and cited in Cahill (note 13), p. 273.

15. For biographical information on Zhu Yu, see Yu Jianhua, Zhongguo meishu- jia renmin cidian (Shanghai, 1980), p. 199. The other work is published in TdsJ genmin meiga taikan (Tokyo, 1929), pl. 145.

i6. For Zhang Zeduan's detailed city view, see Yiyuan duoying 39 (1989), pp. 12-16; for Zhou Chen's depiction of the down-and-out street people of Suzhou, see Cleveland Museum of Art, Eight Dynasties of Chinese Painting: The Col- lections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art, exh. cat. (1980), no. 16o; and Washington, D.C., National Gallery of Art, Circa 1492: Art in the Age of Discovery, exh. cat. (1991), no. 296.

17. See Los Angeles County Museum of Art, The Quest for Eternity: Chinese Ceramic Sculptures from the Peoples' Republic of China, exh. cat. (1987), nos. 97-104; and Zhou Xun et al., 500ooo Years of Chinese Costume (Hong Kong, 1988), pp. 130-43.

i8. In its composition, the Art Institute's fan resembles several other fan paint- ings and album leaves that depict this subject; some of these can be found in the Shanghai Museum (see Songren huace [19791, pl. 2); the Liaoning Provincial Museum (see Yiyuan duoying 39 [1989], pl. W3); and the Freer Gallery of Art (see Washington, D.C., Freer Gallery of Art, Chinese Album Leaves in the Freer Gallery of Art, cat. by James Cahill [1961], pl. 23).

I9. Published in Charles Fabens Kelley, "Chinese Paintings," The Art Institute of Chicago Quarterly (Nov. 15, 195I), pp. 68-71; Iritani Yoshitaka, ed., Oi, Bunjinga suihen, vol. i (Tokyo, 1975), pls. 47-5o; and Urbana-Champaign, Ill., Krannert Art Museum, Sacred Mountains in Chinese Art, exh. cat. by Kiyohiko Munakata (199o), no. 93.

20. Urbana-Champaign (note I9), no. 9I.

21. Wen Jia, Qianshantang shuhua ji (1569), in Meishu congshu (Shanghai, 1986 [orig. pub. Shanghai,

i936]), vol. 2, p.

tO11.

g4 Museum Studies

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22. See Li Gonglin's illustration to "The Classic of Filial Piety" (Xiao Jing), in New York, The Metropolitan Museum of Art, Li Kung-lin's "Classic of Filial

Piety," cat. by Richard Barnhart et al. (1993), pl. 14.

23. Translated in Pauline Yu, The Poetry of Wang Wei (Bloomington, Ind., 1980), p. 202.

24. On this subject, see Susan Bush, "Literati Culture Under the Chin [Jin]," Oriental Art n.s. 15, 2 (1969), pp. 103-12.

25. See San Francisco, Center of Asian Art and Culture, Osaka Exchange Exhibition: Paintings from the Abe Collection and Other Masterpieces of Chinese Art, exh. cat. (1970), no. 7; and Cleveland (note 16), no. 21.

26. Published in Charles E Kelley, "Chinese Paintings Acquired," The Art Insti- tute of Chicago Quarterly (Apr. 1956), p. 25; and Cleveland (note 13), no. 216.

27. See Xu Bangda, Zhongguo huihuashi tulu (Shanghai, 1984), vol. I, pls. 195-203.

28. Published in Toan-zo shoga-fu (Osaka, 1928); and listed in Cahill (note 13), p. 290.

29. See Taipei, National Palace Museum, Gugong shuhua tulu (1990), vol. 4, pp. 17 and 19.

30. Published in Charles F. Kelley, "A Chinese Landscape of the Yuan

Dynasty," The Art Institute of Chicago Quarterly (Apr.-May 1948), pp. 44-46; Osvald Sir6n, Chinese Paintings: Leading Masters and Principles, vol. 6

(London, I958), pl. io3; The Art Institute of Chicago, Ming-Ch'ing Dynasties, exh. cat. by Jack Sewell (1964), unpag.; and Max Loehr, The Great Painters of China (New York, 1980), pl. 9.

31. Published respectively in Xu Bangda, Zhongguo huihuashi tulu (Shanghai, 1984), vol. I, pl. 234; and Taipei, National Palace Museum, Yuan si da jia, exh. cat. (1975), pl. 404.

SIFFERT, "Surimono in the Clarence Buckingham Japanese Print Collection: An Introduction," pp. 54-73.

The author wishes to thank Mrs. Noriko Horie, Research Associate in The Art Institute of Chicago's Department of Asian Art, for her gracious assistance in reviewing some of the fine points of interpretation in this article.

I. For Harunobu's role in the development of the calendar print, see The Art Institute of Chicago, The Clarence Buckingham Collection ofJapanese Prints, cat. by Margaret O. Gentles (1965), vol. 2, pl. 24, p. 12. See also Philadelphia Museum of Art, Suzuki Harunobu: An Exhibition of His Colour-Prints and Illustrated Books on the Occasion of the Bicentenary of His Death in i770, exh. cat. by Jack Hillier (1970), pp. 10, 13-14.

2. See Joan B. Mirviss, "A Hidden Legacy: The Surimono Collection of Frank

Lloyd Wright," in Phoenix Art Museum and Los Angeles County Museum of Art, The Frank Lloyd Wright Collection of Surimono, exh. cat. by Joan B. Mirviss and John T. Carpenter (1955), pp. 13-14, for a brief description of the

Japanese and Chinese lunar calendar cycles.

3. See Roger Keyes, "Introduction," in Lawrence, University of Kansas, Spencer Museum of Art, Surimono: Privately Published Prints in the Spencer Museum

ofArt, cat. by Roger Keyes (Tokyo, 1984), p. 14, for a general description of the

typical steps in the production of surimono.

4. See London, British Museum, The Passionate Art of Kitigawa Utamaro, exh. cat. by Shigo- Asano and Timothy Clark (I995), text vol. p. 91, pl. vol. p. 35. This image is also published in Bloomington, Indiana University Art Museum, Art of the Surimono, exh. cat. by Theodore Bowie (1979), pp. 30-32.

5- See Keyes (note 3), p. ii, for a discussion of how this type of surimono might

have been opened by the recipient to achieve the maximum impact as the lovely design is gradually revealed.

6. Ibid., no. 22, pp. 66-67.

7. This poem is found in one of the early anthologies of Japanese native verse

compiled on royal command, Shin Kokin wakashu ("New Collection of

Japanese Poems from Ancient and Modern Times"), dated to 1205. See Kodansha

Encyclopedia ofJapan (Tokyo, 1983), vol. 4, pp. 254-55. The author is grateful to Dr. Bernd Jesse, Assistant Curator of Japanese Art at the Art Institute, for point- ing out the ancient anthologies cited here and in note 8 below.

8. The poem from which the kyoka verse in the print was derived comes from Kokin wakashu ("Collection of Japanese Poems from Ancient and Modern

Times"), dated to 905. See Kodansha Encyclopedia of Japan (note 7). See also

Roger Keyes, The Art of Surimono, Privately Published Japanese Woodblock Prints and Books in the Chester Beatty Library, Dublin (London, 1985), vol. I, p. 222, for a more extensive explanation of classical relationships in this work

by Hokusai.

9. See Matthi Forrer, Hokusai, with texts by Edmond de Goncourt (New York, 1988), pp. 238-41, for the background and relationship of the Matching Game and Horse surimono series by Hokusai.

10. See Keyes (note 8), pp. 25-26, for a discussion of the possible role of Shumman and other artists in the actual production of surimono.

ii. Department of Asian Art file, The Art Institute of Chicago.

12. Other letter papers in the collection primarily depict landscape and

kachoga (flower-and-bird pictures).

13. Ukiyo-e artists were familiar with such "do-it-yourself" projects, espe- cially woodblock-printed fan papers, which included instructions for cutting out and affixing the print to a fan frame. See The Art Institute of Chicago, The Actor's Image: Print Makers of the Katsukawa School, essays by Timothy T. Clark and Donald Jenkins, entries by Timothy T. Clark, and catalogue by Osamu Ueda (1994), pp. 208-13, pls. 72-73, for examples of fan-shaped wood- block prints by Katsukawa Shunsh6 (1726-1792), designed to be cut and mounted as fans.

14. See Julia Meech, "Reinventing the Exotic Orient," in Kansas City, Mo., Nelson-Atkins Museum of Art, Japonisme Comes to America: The Japanese Impact on the Graphic Arts, 1876-1i925, exh. cat. by Julia Meech and Gabriel Weisberg (g199o), pp. Igo-9I, for a brief discussion of the background of early Chicago collectors of Japanese woodblock prints. See also Julia Meech, "Frank Lloyd Wright and The Art Institute of Chicago," Orientations 23, 6 (June 1992), pp. 72-73. For a general overview of the history of the Asian art collec- tion of the Art Institute, see Elinor L. Pearlstein, "The Department of Asian Art," in The Art Institute of Chicago, Asian Art in The Art Institute of Chicago, cat. by Elinor J. Pearlstein, James T Ulak, et al. (1993), pp. 7-9-

15. Helen Gunsaulus was the daughter of Frank Gunsaulus-a friend of many

Chicago print collectors, president of the Armour Institute of Technology, and the man for whom the Art Institute's Gunsaulus Hall is named.

LITTLE, "The Lure of the West: European Elements in the Art of the Floating World," pp. 74-93.

I. For an excellent discussion of the historical background of the Dutch pres- ence in Japan in the seventeenth century, see Donald Keene, The Japanese Discovery of Europe, 1720-i830 (Stanford, Calif., 1969), pp. 1-15.

2. On this subject, see Keene (note I), pp. 61-73-

3. Published in The Art Institute of Chicago, Ukiyo-e Prints and Paintings: The Primitive Period, 1680-1745, exh. cat. by Donald Jenkins (1971), pl. 1I1; Julian Lee, "The Origin and Development of Japanese Landscape Prints"

(Ph.D. diss., University of Washington, 1977), fig. 37; and Ukiyo-e shu-ka: The Art Institute of Chicago (Tokyo, 1980), vol. I, pl. 28. Lee demonstrated the likelihood that Masanobu's contemporary Torii Kiyotada was probably the first artist to create perspective prints (see pp. 63-115).

Museum Studies 95

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NOTES

4. The most important study to date of this subject is Lee (note 3), chap. 4 ("The Origin of Uki-e"); see especially pp. 223-45, on the probable influence on artists such as Masanobu of Nian Xiyao's Shixue jingyun ("Detailed Guide to the Study of Vision"), with prefaces dated to 1729 and I735. The Shixue jingyun was an adaptation of Andrea Pozzo's Perspectiva Pictorum et Architec- torum (Rome, 1693-1700).

5. Timothy Screech, "The Meaning of Western Perspective in Edo Popular Culture," Archives of Asian Art 47 (1994), p. 59; see also Calvin French, Shiba K6kan (New York and Tokyo, 1974), pp. 8o-81.

6. Published in The Art Institute of Chicago, The Clarence Buckingham Collection ofJapanese Prints: The Primitives, cat. by Helen C. Gunsaulus

(I955), P. 185; see also Lee (note 3), fig. o107.

7. Published in Donald Jenkins, "An Eighteenth-Century Japanese 'Perspective Painting,'" Calendar of The Art Institute of Chicago 65, 5 (Nov.

197I), pp. 10-13.

8. The Art Institute owns an excellent pair of Namban screens, dating to the

Momoyama or early Edo period (1590/i630; Robert Allerton Purchase Fund, 1965.400-401).

9. Gift of Emily Crane Chadbourne, 1950.191. For another impression of this

print, see Masanobu Hosono, Nagasaki Prints and Early Copper Plates (Tokyo and New York, 1978), pl. 22. The accompanying inscription on the print reads, "Oranda-jin" ("Dutchman") and "Saruba kurombo" ("Sarawak black man"). The Art Institute also owns a remarkable early print depicting a Dutch woman, entitled "Oranda- jojin" and dated to about 1760 (gift of Emily Crane Chadbourne, 1950.192); for another impression of this print, see Hosono, pl. 16.

io. For another impression, see ibid., pl. 123.

11. Published in Ukiyo-e shuka (note 3), vol. 2, pl. 133. For two other rare

impressions of this print, see Brussels, Musies royaux d'art et d'histoire, Estampes japonaises ... (1989), pl. 197; and Berlin, Martin Gropius Bau,Japan und Europa, 1543-1929, exh. cat. (1993), no. 5/21. For an extensive discussion of both European and Chinese optiques, see Lee (note 3), pp. 248-82.

12. Julian Lee has suggested that Toyoharu took his inspiration from Chinese

optique prints of the 175os that depict canals in Suzhou (Jiangsu province); and from megane-e, copied or adapted from the Chinese prints, by such artists as

Maruyama Okyo; see Lee (note 3), PP. 396ff. and fig. 177. For Toyoharu's views of the Grand Canal, Venice, and of the Roman Forum (which were

clearly based on European prints), see Ann Arbor, University of Michigan Museum of Art, Through Closed Doors: Western Influence on Japanese Art, 1639-1853, exh. cat. by Calvin French et al. (1977), pls. 46 and 48.

13. Henri L. Joly, Legend in Japanese Art (New York and London, 1908), pp. 236-37.

14. For a discussion of this image, see Henry D. Smith II, "World Without Walls: Kuwagata Keisai's Panoramic Vision of Japan," in Gall Lee Bernstein and Haruhiro Fukui, eds., Japan and the World: Essays on Japanese History and Politics in Honor of Ishida Takeshi (London, 1988), pp. 3-19. The only impression in North America known to this author is in the Honolulu

Academy of Arts (acc. no. 22,073).

15. For another impression, which is in the Museum fiir Ostasiatische Kunst,

Berlin, see Lee (note 3), fig. 375 and p. 428. For another oban triptych perspec- tive view by Toyokuni, depicting the central street (Nakanoch) of Yoshiwara, see Portland [Oregon] Art Museum, The Floating World Revisited, exh. cat. by Donald Jenkins et al. (1993), pl. 2/29.

16. Published in London, Royal Academy, Hokusai: Prints and Drawings, exh. cat. by Matthi Forrer (1992), pl. 6.

17. An example is Hokusai's Urashima Enters the Palace of the Dragon King, published in Tokyo, Tobu Museum of Art, Dai Hokusai ten, exh. cat. (1993), pl. 33.

18. Published in Bulletin of The Art Institute of Chicago 67, 3 (May-June 1973), back-cover ill. For prototypes by Hokusai, see Tokyo (note 17), pls. 57-61.

19. Madison, Wis., Elvehjem Museum of Art, The Edward Burr Van Vleck Collection ofJapanese Prints (1990), p. 207 (gift of Edward Burr van Vleck, 1980.2323).

20. For other impressions, see Hosono (note 9), pl. 69; and Richard Lane, Images from the Floating World (New York, 1978), fig. 524.

21. For an excellent discussion of the Colossus, see Reynold Higgins, "The Colossus of Rhodes," in Peter A. Clayton and Martin J. Price, The Seven Wonders

of the Ancient World (London and New York, 1988), pp. 124-38.

22. It is clear that Blaeu himself borrowed his image of the Colossus from an

engraving after the sixteenth-century Dutch painter Martin van Heemskerck; see Clayton and Price (note 21), pl. 67. The possibility also exists, as pointed out

by Lee (note 3), p. 657 n. 81, that these images were introduced to Japan through China, for the same Heemskerck prints were copied in Jesuit Father Ferdinand Verbiest's Chinese book, Qiji tushuo ("Seven Wonders of the World"; Beijing, 1672), itself translated into Japanese by Morishima Churyo, who included it in his Mankoku shinwa (Edo, 1789), and by Shiba Kokan, who included it in his Oranda tsuhaku (Edo, I805).

23. For another, better-preserved impression, see Matthi Forrer and Charlotte van Rappard-Boon, The Beauty and the Actor: Japanese Prints from the Rijks- museum Amsterdam and the Rijksmuseum voor Volkenkunde, Leiden (Leiden, 1995), pl. 123. Kuninaga appears to have created a complete set of prints of the Seven Wonders. For his image of the Colossus of Rhodes, which is similar to Kunitora's, see Tokyo, Riccar Museum, Uki-e, exh. cat. (1978), pl. 117. For

Kuninaga's [The Hanging Gardens of] Babylon, see Lee (note 3), fig. 481; and Lane (note 20), fig. 513. For his Pyramids of Egypt, see Ann Arbor (note 12), pl. 5o. The Art Institute also owns a rare impression of Kuninaga's curious print Newly Published Dutch Perspective View: The European Puppets Made of Stone

(anonymous gift, 1931.796).

24. See Forrer and van Rappard-Boon (note 23), pl. 123. The title has been trimmed off the Art Institute's impression of the print.

25. Pozzo (note 4) and Screech (note 5), p. 59. Pozzo was the teacher of

Giuseppe Castiglione, the Jesuit priest-painter who, in the eighteenth century, was one of the favorite artists at the Qing-dynasty court.

26. For another impression, see Lane (note 20), pl. 527.

27. For a translation of the original Bunraku puppet play, see Donald Keene, trans., Chuishingura: The Treasury of Loyal Retainers (New York and Lon- don, 1971).

28. For a discussion of this print in the context of Kunisada's oeuvre, see New York, Japan Society, Kunisada's World, exh. cat. by Sebastian Izzard (1993), pl. 65/1.

29. For an excellent introduction to this famous series, see Henry Smith, Hiroshige: One Hundred Famous Views of Edo (New York, 1986).

30. Although a photographic camera is known to have first been brought to

Japan with Commodore Perry on his second visit, in 1854, cameras do not

appear to have been widely used in Japan until several decades later.

96 Museum Studies

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