Waka c. early 19th century

Tanomura Chikuden created this ink on paper work, “Waka,” now held at the Minneapolis Institute of Art, sometime before 1835. At first glance, the composition presents a vertically stacked arrangement of abstract forms, interspersed with calligraphic text. The subdued palette of muted blues and greys imbues the piece with a serene, almost melancholic aura. However, the structure of the artwork pushes beyond mere representation. The artist uses the interplay between the painted forms – suggestive of landscapes – and the superimposed calligraphy to create a dynamic tension. The text does not simply describe the scenery; rather, it acts as a formal element that both disrupts and integrates with the visual field. This integration challenges traditional notions of landscape painting, suggesting a fusion of textual and visual signs. The artist invites us to see language not just as a tool for description, but as a structural element, blurring the lines between seeing and reading, nature and culture. It is in this tension, in this interplay of form and text, that the enduring power of the work resides.