The Reflection of Fragrant Flowers Dangling over a Pond
Chinzan rendered these chrysanthemums using the “boneless” (mokkotsu) method of painting—that is, without any outlines. Instead, the ink pools naturally form the edges of the leaves, and the yellow chrysanthemum petals are meticulously drawn by alternating shades of yellow with areas of white and faint gray accents, again, without relying on outlining. The flowers in full bloom during the height of autumn are depicted naturalistically as the countless delicate petals twist and turn. In addition, the traditional repetitive texture strokes to define rocks in the Chinese manner have been minimized, and they are executed with a combination of washes and minimal line work.
Of the two seals impressed on the work, the one at middle left offers the Chinese saying “All that is still unattained in life will work out fine.” The signature reads, “Painted on the ninth day of the ninth month [the chrysanthemum festival] of the kanoe-ne year [1840],” which lets us know the occasion for which the work was created. Chrysanthemums were among the eight flowers that were favored by the Chinese literati and were considered a metaphor for excellence and a symbol of longevity. Japanese literati (bunjin) painters such as Chinzan would also have studied painting methods for flowers in Chinese woodblock-printed books like the Mustard Seed Garden Painting Manual—which, in fact, inspired the theme of this painting. With the emphasis on the seasons in Japanese art, chrysanthemums, along with other plants such as the bellflower and pampas grass, became synonymous with the autumn.
Chinzan was raised in Edo in a samurai family. His father died when he was only seven, leaving him and his mother destitute. He eventually earned the minor military rank of spear bearer and was highly skilled in martial arts. Only after the low wages of this official rank forced him to seek additional income did he become a professional artist. He trained under the Nanga painters Tani Bunchō (1763–1840) and Watanabe Kazan (1793–1841) and favored Chinese literati artists of the Ming dynasty (1368–1644). Specializing in paintings of birds and flowers, he was an avid participant in sencha (seeped tea) ceremonies, during which he would enjoy viewings of Chinese paintings and antiquities owned by his associates.
Of the two seals impressed on the work, the one at middle left offers the Chinese saying “All that is still unattained in life will work out fine.” The signature reads, “Painted on the ninth day of the ninth month [the chrysanthemum festival] of the kanoe-ne year [1840],” which lets us know the occasion for which the work was created. Chrysanthemums were among the eight flowers that were favored by the Chinese literati and were considered a metaphor for excellence and a symbol of longevity. Japanese literati (bunjin) painters such as Chinzan would also have studied painting methods for flowers in Chinese woodblock-printed books like the Mustard Seed Garden Painting Manual—which, in fact, inspired the theme of this painting. With the emphasis on the seasons in Japanese art, chrysanthemums, along with other plants such as the bellflower and pampas grass, became synonymous with the autumn.
Chinzan was raised in Edo in a samurai family. His father died when he was only seven, leaving him and his mother destitute. He eventually earned the minor military rank of spear bearer and was highly skilled in martial arts. Only after the low wages of this official rank forced him to seek additional income did he become a professional artist. He trained under the Nanga painters Tani Bunchō (1763–1840) and Watanabe Kazan (1793–1841) and favored Chinese literati artists of the Ming dynasty (1368–1644). Specializing in paintings of birds and flowers, he was an avid participant in sencha (seeped tea) ceremonies, during which he would enjoy viewings of Chinese paintings and antiquities owned by his associates.
Artwork Details
- 椿椿山筆「香垂潭影」
- Title: The Reflection of Fragrant Flowers Dangling over a Pond
- Artist: Tsubaki Chinzan (Japanese, 1801–1854)
- Period: Edo period (1615–1868)
- Date: 1840
- Culture: Japan
- Medium: Hanging scroll; ink and color on silk
- Dimensions: Image: 53 15/16 × 15 7/8 in. (137 × 40.4 cm)
Overall with mounting: 77 3/8 × 20 3/16 in. (196.5 × 51.2 cm)
Overall with knobs: 77 3/8 × 22 5/8 in. (196.5 × 57.5 cm) - Classification: Paintings
- Credit Line: Fishbein-Bender Collection, Gift of Estelle P. Bender, 2025
- Object Number: 2025.618.3
- Curatorial Department: Asian Art
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