Landscapes of Autumn and Winter 17th century

Editor: So, here we have Tenshō Shūbun’s “Landscapes of Autumn and Winter” from the 17th century. They’re ink and tempera on what looks like paper, and something about their simple, almost stark, composition is really drawing me in. How do you interpret this work? Curator: Well, looking at the means of production, the stark ink and tempera are deceiving. Paper itself held value; the act of painting with precious materials signified not only status but also, more importantly, a relationship to the natural resources from which the artwork was crafted. How might that materiality, in turn, frame our perception of the "landscapes" here? Editor: I see what you mean! It wasn’t just about depicting scenery, but engaging with the materials harvested from that same world. Did the support—the paper—influence Shūbun's technique at all? Curator: Absolutely. The absorbency of the paper would necessitate a deliberate, perhaps even economical, application of ink. Each brushstroke holds weight because of the material limitations, so you can’t have excess or needless flourishes here. Also, think about who had access to the training to master brushwork that respected materials in this way, or who controlled that production of materials like the paper, ink, and pigments! Editor: That's fascinating! I never thought about the skill being linked so directly to the inherent properties, and the cost of the medium. Now I understand more that what appear at first sight to be merely nature depictions were indeed infused with labor and social connotations that resonate even today! Curator: Exactly! And this deeper understanding gives new context for seeing that there were probably ways people valued and exchanged nature, skill, and art throughout history.