44 AMAM.OBERLIN.EDU THE EIGHT VIEWS ARRIVE IN JAPAN In Japan, the Eight Views (八景 hakkei) theme gained popularity from the 13th century, probably transmitted along with other aspects of Song dynasty Chinese culture through Zen Buddhist networks and scholarly exchanges. The work below is an example of the visual culture carried to Japan fromChina during this early phase of transmission of the Eight Views theme. By the 18th century, the Eight Views theme had evolved into a popular cultural framework used to celebrate scenic spots across Japan. The theme was particularly popular in the artistic culture of Edo (present-day Tokyo), where it evoked both the sophisticated Chinese-inspired traditions of high culture and more popular art forms, like woodblock prints. As cities and pressure on natural resources grew, prints like these helped urban dwellers in major cities like Edo and Osaka maintain an emotional connection to nature and famous sites (meisho 名所) throughout Japan. Viewers were drawn to images of landscapes at a pivotal time when pre-industrial Japan addressed environmental challenges through technological innovation and sustainable practices, covered in the first section of this catalogue. Eight Views series enticed viewers with the pleasures of travel, made possible by the Tokaido and other roads throughout Japan. Below: Torii Kiyonaga 鳥居清長 (Japanese, 1752–1815) EveningSnowat KinryūzanTemple; AutumnMoon at AtagoHill, fromthe series Eight Views of Edo, ca. 1776 Color woodblock print (nishiki-e); ink and color on paper MaryA. AinsworthBequest, 1950.326 The city of Edo, as Japan’s major producer of woodblock printing, naturally developed its own Eight Views series featuring local landmarks. This unusual double print shows two. Kinryūzan Sensōji, on the right, was Edo’s oldest Buddhist temple and popular destination in Asakusa. Atago Hill, shown in the moonlight, was named after a sacred hill in Kyoto. Both Atago Hills have shrines for the Shinto deity who protected against fires. Though created for general audiences, the print incorporates other elements fromChinese elite artistic traditions in addition to the Eight Views theme. The scenes are presented in shapes that resemble Chinese fans, a popular format for paintings. Additionally, the poems in white text against dark backgrounds mimic the appearance of Chinese ink rubbings, introduced earlier. THE EIGHT VIEWS, STANDARDIZED As the Eight Views became domesticated in Japan, the themes became relatively standardized in the order below. The themes were then paired with names of local scenic spots. 1. ClearingWeather (晴嵐 seiran) 2. Sunset Glow (夕照 sekishō) 3. Returning Sails (帰帆 kihan) 4. Night Rain (夜雨 ya’u) 5. Evening Bells (晩鐘 banshō) 6. Autumn Moon (秋月 shūgetsu) 7. Descending Geese (落雁 rakugan) 8. Evening Snow (暮雪 bosetsu)
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