The Burke Collection
River and Sky in Evening Snow, from Eight Views of the Xiao and Xiang Rivers (瀟湘八景 江天暮雪)
Click to enlarge
137-1

Artist

Kaihō Yūshō

(海北友松; 1533–1615)

Catalogue information

Momoyama period, ca. 1602–3

Panel of a folding screen, mounted as a hanging scroll; ink and gold on paper

71.5 x 37.8 cm (28 1/8 x 14 7/8 in.)

Donated to the Minneapolis Institute of Art by the Mary and Jackson Burke Foundation in 2015

Literature

Kawai Masatomo 1966, fig. 4
Kawai Masatomo
1966
“Yūshō hitsu Shōshō Hakkei zu” (Hsiao-Hsiang scenery by Kaihō Yūshō). Bijutsushi 16, no. 3 (December): 96–104.

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;
Kawai Masatomo 1978, p. 108, fig. 19
Kawai Masatomo
1978
Yūshō, Tōgan. Nihon bijutsu kaiga zenshū (Survey of Japanese painting), 11. Tokyo: Shūeisha.

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;
Ōta Hirotarō et al. 1990, pl. 23
Ōta Hirotarō, Yamane Yūzō, and Yonezawa Yoshiho [Ōta Hirotarō et al.]
1990
[Editors]. Katsura Rikyū (Katsura Imperial Villa). Shōgakukan Gallery: Shinpen meihō Nihon no bijutsu (Shōgakukan Gallery: Masterpieces of Japanese art; New edition), 22. Tokyo: Shōgakukan, 1990.

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;
Kawamoto Keiko 1991, pl. 30
Kawamoto Keiko
1991
Yūshō, Sanraku. Shōgakukan Gallery: Shinpen meihō Nihon no bijutsu (Shōgakukan Gallery: Masterpieces of Japanese art; New edition), 21. Tokyo: Shōgakukan.

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;
Murase 1993, no. 21
Murase, Miyeko
1993
Jewel Rivers: Japanese Art from the Burke Collection. Exh. cat. Richmond: Virginia Museum of Fine Art.

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;
Sugimoto Sonoko and Kawai Masatomo 1994, pl. 23
Sugimoto Sonoko and Kawai Masatomo
1994
Yūshō. Suibokuga no kyoshō (Great masters of ink painting), 4. Tokyo: Kōdansha.

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;
Burke 1996a, fig. 2
Burke, Mary Griggs
1996a
“The Delights of Nature in Japanese Art.” Orientations 27, no. 2 (February): 54–61.

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;
Ōtsu City Museum of History 1997, p. 93, no. 12
Ōtsu City Museum of History
1997
Ōmi no kyoshō Kaihō Yūshō (Kaihō Yūshō: Master artist of Ōmi). Exh. cat. Ōtsu, Shiga Prefecture: Ōtsu City Museum of History.

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;
Murase 2000, no. 77
Murase, Miyeko
2000
Bridge of Dreams: The Mary Griggs Burke Collection of Japanese Art. Exh. cat. New York: The Metropolitan Museum of Art.

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;
Tsuji Nobuo et al. 2005, no. 64.
Tsuji Nobuo et al.
2005
Nyūyōku Bāku korekushon-ten: Nihon no bi sanzennen no kagayaki / Enduring Legacy of Japanese Art: The Mary Griggs Burke Collection. Exh. cat., Museum of Fine Arts, Gifu; Hiroshima Prefectural Museum of Art; Tokyo Metropolitan Art Museum; and Miho Museum, Shigaraki, Shiga Prefecture. [Tokyo]: Nihon Keizai Shinbunsha.

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Additional details

D137-1
D137-1
D137-2

Seal

[lower left] Yūshō

Text

by Saishō Shōtai (1548–1607)

Ten thousand miles of river and sky send thoughts ten thousand miles away. / Blowy snowflakes fall like catkins over stretches of woods. / The bridge lay sideways; the road was blocked; the horse slipped. / Think further why he felt like turning around at the Lan Pass.

Signature

To the right is an old poem by Gyokukan [Ch. Yujian; fl. mid-13th c.] transcribed by Shōtai.

Seal

Saishō


Supplementary Transcriptions

Seal

友松(朱文方印)(relief, square)

Text

萬里江天萬里心﹐
飄飄花絮洒平林。
橋橫路斷馬蹄滑﹐
更論藍關轉不禁。 1

Signature

右玉澗古詩,承兌叟書正事。2

Seal

西笑(朱文方印)(relief, square)

Notes

1. This is Yujian’s poem on the view of Evening Snow Over an Expanse of River and Sky (江天暮雪), one of the Eight Views of the Xiao and Xiang Rivers (瀟湘八景). The second couplet of the poem alludes to Han Yu’s韓愈 (768-824) poem “To My Grandnephew Xiang upon Arriving at the Lan Pass on My Journey to the New Post after Demotion” (“左遷至藍關示侄孫湘”). In 819, Han Yu submitted a memorial to Emperor Xianzong of the Tang dynasty (r. 805-820) that detailed the detrimental consequences of the Emperor’s decision to bring the Buddha’s relics to the capital. Outraged by his audacity, the Emperor banished him to Chaozhou in the remote south. [See Liu Xu劉昫, Old History of the Tang Dynasty (舊唐書), chapter 15 “Chronicle of Xianzong’s reign.” On his way there, Han Yu was detained at the Lan Pass near Lantian, Shaanxi Province, as his horse refused to cross the snow-covered mountain ridge. He composed the poem for Han Xiang, who came a long way to meet him there.

2. During the late Southern Song (1127-1279) and the early Yuan dynasty (1271-1368), there were four Buddhist monks named Yujian, i.e., Bin Yujian彬玉澗, Ying Yujian瑩玉澗, Meng Yujian孟玉澗, and Yujian Ruofen玉澗若芬. Suzuki Kei 鈴木敬identified the painter known for his misty landscape as Yujian Ruofen, a native of Jinhua, Zhejiang Province, and a monk of the Tiantai Sect, specializing in depicting cloudy mountains. See Suzuki Kei, “A Study on 玉澗若芬”(玉澗若芬試論), Bijutsu Kenkyu 236 (March 1965), pp. 1-14; Toda Teisuke戶田禎佑, “A Brief Study on Mokkei”(牧谿序說), in Mokkei, Gyokkan (牧谿,玉澗), Tokyo: Kōdansha, 1978, p. 66.