Page 316 - Edo: Art in Japan, 1615–1868

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i;o journey. Lush, leafy trees line the Behind the poetry of this image lies
Yosa Buson (1716-1783) path in faint pastels, and together Buson's skill as a painter. His sure
Traveler and Horse Passing through with blossoming peach or cherry trees control of varied ink tonalities in the
a Spring Landscape (Midday View on a proclaim the arrival of spring. Arch- foliage of the trees, the stable compo-
Spring Embankment) ing willows in the background on sition in which the path curves down
the right echo the soft colors in the toward the viewer and then begins
Hanging scroll; ink and color on silk foreground and add to the profuse
3
81.7x115.3 (3273x45 /s) to wend away, and the restrained use
Kurokawa Ancient Writings Research verdure of the scene. The lone rooster of light color washes all enhance the
left
in the sunken paddies on the
atmosphere
of the picture.
peaceful
Organization, Hyógo
accents the scene with a touch of We sense the directness and honesty
bright color. of Buson's hand; nothing in the image
• On a warm spring afternoon, a
traveler leads his bundle-laden horse Yosa Buson truly stands alone among appears distorted or contrived. Signed
with the name "Shain," this image
along a levee that winds its way Japanese painters in his gift for cap-
between irrigated fields and marsh- turing the lyricism of a single moment. is an example of Buson working in his
land. He has just passed a thatch- The fleeting quality of the image literati mode and gives us a glimpse
of Buson's interior world in which
roofed farmhouse or country inn, serves as his primary expressive poetry and painting are harmoniously
where he may have rested the previ- vehicle—the traveler will soon disap-
ous night, before continuing his pear from our view. As if to reinforce joined. MM
this temporal aspect, Buson inscribed
the title as "Midday View on a Spring
Embankment."