169) 飯島勇,鈴木進著《大雅.蕪村 )； Ike no Taiga (池大雅, 1723–1776) 大雅 Yosa Buson or Yosa no Buson (与謝 蕪村, 1716 –1784)蕪村 川端康成收藏品。The Lyric Journey Poetic Painting in China and Japan by Cahill James. 1996.

 

169) 飯島勇,鈴木進著《大雅.蕪村 )； Ike no Taiga (池大雅, 1723–1776) 大雅   Yosa Buson or Yosa no Buson (与謝 蕪村, 1716 –1784)蕪村    川端康成收藏品。The Lyric Journey Poetic Painting in China and Japan by Cahill James. 1996.      

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The Lyric Journey Poetic Painting in China and Japan by Cahill James ; Published by Harvard University Press, 

高居翰 James Cahill《》The Lyric Journey Poetic Painting in China and Japan by Cahill James

The Lyric Journey: Poetic Painting in China and Japan (The Edwin O. Reischauer Lectures) 1996

Creating paintings with poetic resonances, sometimes with ties to specific lines of poetry, is a practice that began in China in the eleventh century, the Northern Sung period. Cahill vividly surveys its first great flowering among artists working in the Southern Sung capital of Hangchou, probably the largest and certainly the richest city on earth in this era. He shows us the revival of poetic painting by late Ming artists working in the prosperous city of Suchou. And we learn how artists in Edo-period Japan, notably the eighteenth-century Nanga masters and the painter and haiku poet Yosa Buson, transformed the style into a uniquely Japanese vehicle of expression. In all cases, Cahill shows, poetic painting flourished in crowded urban environments; it accompanied an outpouring of poetry celebrating the pastoral, escape from the city, immersion in nature. An ideal of the return to a life close to nature--the "lyric journey"--underlies many of the finest, most moving paintings of China and Japan, and offers a key for understanding them.

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James Cahill, Professor James Cahill

Harvard University Press, 1996 - Art - 251 pages

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Poetic paintings - works done in response to lyric poems, or else as pictorial equivalents to them - compose a major category of East Asian art. In this beautifully illustrated book James Cahill looks at three exemplary traditions in this genre, works from three very different times and places, bringing new understanding of the paintings and of the relationship between the art and the societies that produced it. Creating paintings with poetic resonances, sometimes with ties to specific lines of poetry, is a practice that began in China in the eleventh century, the Northern Sung period. Cahill vividly surveys its first great flowering among artists working in the Southern Sung capital of Hangchou, probably the largest and certainly the richest city on earth in this era. He shows us the revival of poetic painting by late Ming artists working in the prosperous city of Suchou. And we learn how artists in Edo-period Japan, notably the eighteenth-century Nanga masters and the painter and haiku poet Yosa Buson, transformed the style into a uniquely Japanese vehicle of expression. In all cases, Cahill shows, poetic painting flourished in crowded urban environments, it accompanied an outpouring of poetry celebrating the pastoral, escape from the city, immersion in nature. An ideal of the return to a life close to nature - the "lyric journey" - underlies many of the finest, most moving paintings of China and Japan, and offers a key for understanding them.

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飯島勇,鈴木進著《大雅.蕪村 )

將兩人合併討論，多基於所處時代近似。

《大雅.蕪村 )出版於70年代末，彩色印刷相對昂貴。

大雅作品多元，不像The Lyric Journey Poetic Painting in China and Japan by Cahill James 多談蕪村。

這本書有誤植

十便圖作者為大雅

十宜圖作者為蕪村

《大雅.蕪村 )黑白圖示處物寫作者都是大雅。其他處則無此錯誤。

大雅.蕪村 / 飯島勇,鈴木進著