caa a22 4500 386405387 CHVBK 20180307112218.0 cr unu---uuuuu 161130e198902 xx s 000 0 eng 10.2307/2057661 doi S0021911800049639 pii (NATIONALLICENCE)cambridge-10.2307/2057661 Takeuchi Melinda "True” Views: Taiga's Shinkeizu and the Evolution of Literati Painting Theory in Japan [Elektronische Daten] [Melinda Takeuchi] Few cultures had as rich a vocabulary for pictures of specific places as did eighteenth-century Japan. Why then did yet another word, shinkeizu (literally "true-view pictures”), come into being in the late eighteenth century? The answer is that none of the existing terms satisfactorily articulated the ideological essence of a new kind of painting advocated by a group of artists who sought to incorporate into their work styles and concepts associated with the art of the Chinese literatus. These Japanese masters came to constitute a school known as Nanga (the Japanese interpretation of the Chinese "Southern school” of painting; it was also called bunjinga, "literati painting”). For a picture (zu) of a given scene (kei) to be profound, argued the connoisseurs of Nanga, the artist must experience the vista at first hand and then absorb and transmit its essential reality (shin). It was in the circle of the brilliant literati artist Ike Taiga (1723-76) that the concept ofshinkeizu became the integral element of the new Japanese conception of depictions of actual scenes. Copyright © The Association for Asian Studies, Inc. 1989 The Journal of Asian Studies Cambridge University Press 48/1(1989-02), 3-26 0021-9118 48:1<3 1989 48 JAS https://doi.org/10.2307/2057661 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.2307/2057661 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Takeuchi Melinda NATIONALLICENCE 773 0- The Journal of Asian Studies Cambridge University Press 48/1(1989-02), 3-26 0021-9118 48:1<3 1989 48 JAS CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge