Kimura-Kenkato(木村??堂, 1736-1802) is a literary painter of the late 18th century and his works has been gaining attention recently in Japan. NamJong literary painting(南宗文人畵) was proposed by Dong-Gi-Chang(董其昌) between late Ming dynasty and early Qing dynasty(明末淸初) and the painting style have spread across East Asian countries and influenced the art and literature of the countries. The painting style was first introduced to Japan in the early 18th century and took only half a century until it prevailed among Japanese literati.
It is commonly acknowledged that Japanese literary paintings had begun by pioneers such as Gien-Nankai(祇園南海), Sakaki-Hakusen(彭城百川)in the early 18th century and perfected by Ikeno-Daiga(池大雅), Yosabuson(與謝蕪村)by the mid 18th century. Ikeno-Daiga’s paining Style(池大雅畵風), were widely accepted among Japanese literati in mid 18th centuryand it inspired young literati such as Kimura-Kenkado who became a successor of Ikeno-Daiga. However Japanese literary paintings developed into new aspects as it headed toward the late 18th century and early 19th century.
Kimura-Kenado is a literary artist of the time and the reason that hispainting gained such attention was because it played as a stepping-stone to the prevalence of NamJong literary painting style in early 19th century. Kimura-Kenkado’s painting style has been significantly influenced by U-School’s(吳派) scenery painting style at the time of late Ming and early Qing dynasty(明末淸初) and he vigorously copied(臨摹) U-School’s scenery paintings(吳派山水畵) in the prime of his life.
Kimura-Kenkado’s works in the twilight of his life were considerably influenced by U-School’s scenery painters of early Qing dynasty(淸代) due to his fellowship with artists from Qing dynasty. Ikeno-Daika had a great influence on Japanese circle of literary painters in the mid 18th century and after he had passed away, the painting style of Qing dynasty has widely accepted among Japanese literati and Japanese literary paintings became even more resembled to NamJong literary artist’s paintings. This was because there was much demand on NamJong literary artist’s paintings from Confucian literati such as Kimura-Kenkado.
Kimura-Kenkado, at his 30s, built companionship with Korean literati such as Sung-DaeJoong(成大中), Won-Jungeo(元中擧), Nam-Ok(南玉) who came to Japan as ambassadors(通信使) from Cho-sun(朝鮮)in 1764. Kimura-Kenkado received Seo-Ji-Chup(栖志帖) which is a poetry and paintings book(詩書畵合壁帖) from Kim-Yousung(金有聲), who was an artist working for Cho-sun Emperor(畵院畵家) and came to Japan along with Cho-sun ambassadors(朝鮮通信使).
Kimura-Kenkado drew a painting called Kenkado-Ajip-Do(??堂雅集圖) to commemorate the moment and the painting was introduced to Cho-sun by Sung-Daejung(成大中). In addition, the painting is recognized as a representation of Japanese circle of painters until 19th century.
This research carefully observes the background of Japan’s cultural interchange, especially paintings, through 18th century Japanese literary artist, Kimura-Kenkado. Based on the cultural interchange, it was possible to trace characteristics of Japanese literati and painting styles they admired at the time when Korean ambassador(朝鮮通信使)visited Japan. Japanese painting style was In inclination to NamJong literary artist’s paintings, which was started sometime between the late Ming dynasty and early Qing dynasty and Widespread throughout East Asia. It could also be established in the foundation of Sung Confucianism(性理學) and Chinese literature(漢文學), which are the most commonly, spread philosophy in the modern history of East Asia(東亞). Therefore, Kimura-Kenkado’s work and his association with Cho-sun literati is a very important evidence that shows intellectual classes’ painting activities were widespread in modem East Asian history.