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Chinese Landscape

Ike no Taiga

Chinese Landscape exhibition

Chinese Landscape

High-resolution facsimiles

Material
printed, gold on washi paper
Period of creation
The Joint-research Project with CPCP 2021
Collection
Agency for Cultural Affairs

Original

Cultural property designation
National Treasure
Artist
Ike no Taiga
Historical era
Edo (18th century)
Material
ink, color and gold leaf on washi paper
Medium
Pair of six-fold screens
Size
Each screen H168.7 × W372.6 cm
Collection
Tokyo National Museum

Description

This pair of folding screens features two famous scenic areas in China. The right screen depicts Yueyang Pavilion, a building on the shore of Dongting Lake, while the left screen shows Zuiweng pavilion, located in the mountains of Anhui province. These are based on two scenes from an album of paintings from Qing dynasty China, which began in 1644 and ended in 1912. Several people have gathered at the top of these buildings to stand amongst the stunning nature and enjoy the tranquility. On a ground of gold foil, the artist had dynamically sketched scenes of nature using sumi ink and translucent pale green hues. This is complimented here and there by vivid ultramarine, vermillion, and verdigris tones. The painter, Ikeno Taiga, was active during the Edo period, which lasted from 1603 till 1868. Many painters at the time were drawn to modern Chinese culture. Taiga was one of these and his works were influenced by Nanshuga, a style of literati painting from Ming and Qing dynasty China, a period between the mid-14th to early 20th centuries. Though Taiga never travelled to China, this work of imagination is infused with his longings for the Middle Kingdom.

— Cited from Colbase

How the Works Are Created

How the Works Are Created

This section introduces the production process of high resolution facsimiles by combining Canon’s latest imaging technology and the authentic craftsmanship of Kyoto in the Tsuzuri Project.

About the Tsuzuri Project

About the Tsuzuri Project

This section shares the significance and passion behind the Tsuzuri Project and how we utilize the high resolution facsimiles of precious cultural assets, which are designated as national treasures and important cultural assets, and Japanese artworks that have left Japan.