Russian Japanology Review (Jun 2024)
Symbolism in Shiba Kōkan’s (1738/1747–1818) Painting The Meeting of the Three Sages of Japan, China, and the West
Abstract
The article is devoted to the study of a little-known scroll by the 18th century Japanese artist Shiba Kōkan1 . The provenance of the scroll and the reasons for its poor study are considered. The main attention is paid to the analysis of the history of the scroll and the symbolism of three elements of images on it: wave, triad, and flame-fire. These three elements are important components of the Japanese cultural and artistic code, forming it since ancient times while changing over time and retaining their significance in contemporary culture. The multiple meanings of the symbolism of the images on the scroll allow us to propose at least two possibilities for its interpretation: as a separate and independent work and as an illustration of the artist’s diary-pamphlet written by him at the end of his life. In this article, we deal primarily with the first possibility. The duality of the perception of the wave and the sea in the cultural code is reflected in the scroll. The islanders realized the sea not only as a physically surmountable barrier, but also as a kind of translator of information. The central part of the scroll depicts a meeting at the table of three wise men from Japan, China and the West, which is analogous to the illustration of the famous Chinese parable Three Wise Men Tasting Vinegar. The article analyzes in detail the portraits of the three participants of the meeting, considers possible prototypes of the Japanese character and the collective images of the Chinese and the European ones, confirmed by the carefully studied symbolism of their appearance, as well as the objects spread out in front of them. The burning Buddhist pagoda depicted at the top of the scroll and the three groups of people trying to extinguish it seem to be an allegory for the gathering around the table. It is also seen in the use of different ways and means of extinguishing the fire by groups of Japanese, Chinese, and Europeans. It seems that the scroll also has Buddhist connotations. The image reflects the irony, mockery, and laughter, which are among the characteristics of Edo culture. The final part of the article speculates on the possible dating and authorship of the scroll.
Keywords
