Art/ Collection/ Art Object
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Eight Views of Xiao and Xiang Rivers

Artist:
Maruyama Ōkyo (Japanese, 1733–1795)
Calligrapher:
Shōkadō Shōjō (Japanese, 1584?–1639)
Period:
Edo period (1615–1868)
Date:
17th century
Culture:
Japan
Medium:
Eight-panel folding screen; ink and gold
Dimensions:
43 x 129 in. (109.2 x 327.7 cm)
Classification:
Screens
Credit Line:
Gift of Mrs. H. F. Stone and Mrs. Leon Durand Bonnet, 1956
Accession Number:
56.116
Not on view
This screen, a collage of Japanese poems and quick ink-wash paintings on the theme of the Eight Views of the Xiao and Xiang by the famous calligrapher and man of letters Shōkadō, underlaid by Maruyama Ōkyo's golden grasses of autumn, is an interesting study of how this Chinese Northern Sung literati theme of place and political exile was transformed into a Japanese landscape theme of seasonal reference and atmosphere.

The poems read from right to left:

[Fishing Village in Evening Glow]
Seeing again the waves dyed by the setting sun, they make their way in haste to twilight shelter.
Nami no iro wa iri hi no ato ni nao miete isogi wa
kuraki ko ga kure no yado.

[Mountain Market, Clearing Mist]
Off high peaks above a village of towering pines a
clearing storm leaves in its wake mists curling at the
foot of the mountain.
Matsu takaki sato yori ue no mine harete arashi ni shizumu yamamoto no kumo.

[Night Rain on the Xiao-Xiang]
Borne on waves hurrying boats to shore the voice of the night rain seems to inflict even more deeply its distress.
Fune yosuru nami ni koe naki yoru no ame itomasari kurushizuku ni zo shiru.

[Returning Sails from a Distant Shore]
Bending low, coupled with the waves that follow the winds, the boatmen return.
Kaze mukafuku mono ukinami tatsu to mite tsurisenu sayo ni kaeru funabito.

[Autumn Moon over Lake Dongting]
With autumn's passing, the water now icy, the white waves arise offshore soaked in the moon.
Aki ni sumu mizu hiyashiku sayo fukete tsuki ni hitaseru okitsushiranami.

[Wild Geese Descending to a Sandbar]
They descend from the sky once again, invited to join the bending reeds among the shallow waters of the strand.
Mazu asaru ashibe no tomo ni sasowarete sora yukari mo mata kudaru nari.

[Evening Bell from a Distant Temple]
The clear sound of the bell falling with the evening frost hurries all along the path.
Kure kakaru shimo yori tsutau kane no oto ni ochikata hito mo michi isogu nari.

[River and Sky in Evening Snow]
The snow on the reeds is deep; the color of the underside of my cape, too, deepens with the night.
Ashi no ba ni kakareru yuki mo fukaki shinomigiwa no iro wa yuube tomonashi.
Inscription: Obverse, each applied panel with calligraphy at top, inscription at bottom; reverse, second panel from left inscribed left of center
Seals: obverse, next to each inscription, one; reverse near inscription, two.
New York. The Metropolitan Museum of Art. "Seasonal Pleasures in Japanese Art, Part II," May 1, 1996–September 8, 1996.

New York. The Metropolitan Museum of Art. "The Resonant Image: Tradition in Japanese Art (Part Two)," April 27, 1998–September 27, 1998.

New York. The Metropolitan Museum of Art. "Arts of Japan," 1998.

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