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Asian Art
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Photo credit: Yale University Art Gallery
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Photo credit: Yale University Art Gallery
Artist, attributed to: Kanō Motonobu, Japanese, 1476–1559

Eight Views of the Xiao-Xiang Region (Shōshō Hakkei)

first half 16th century

Hanging scroll: ink on paper; with ivory rollers

without mounting: 17 15/16 × 28 15/16 in. (45.5 × 73.5 cm)
with mounting: 56 11/16 × 34 9/16 in. (144 × 87.8 cm)
with rollers: 36 7/8 in. (93.7 cm)
Leonard C. Hanna, Jr., Class of 1913, Fund
The Eight Views of the Xiao-Xiang Region was a well-established subject imported from China long before the artist created this version. Traditionally, depictions of Chinese river scenes were rendered as a series of eight separate paintings. For this painting, the artist blended the eight views from different seasons and times of day into the same painting, creating a new Japanese style. This harmonious blending is characteristic of Japanese art; unlike Chinese paintings that emphasize the integrity of the individual scene, Japanese scrolls often evoke the Zen idea of multiplicity distilled in a single work. Scrolls like this one would have been admired at places such as temples and wabi tea ceremonies.
Muromachi period (1336–1573)

Suzanne Mitchell Asian Fine Arts, New York; purchased in 2001 by the Yale University Art Gallery, New Haven, Conn.


Sadako Ohki and Takeshi Watanabe, Tea Culture of Japan (New Haven, Conn.: Yale University Art Gallery, 2009), 86, no. 20, ill.

Sadako Ohki, “Japanese Art at Yale,” Yale University Art Gallery Bulletin (2007): 41.

Sadako Ohki, “What Makes Japanese Painting Japanese,” Yale University Art Gallery Bulletin (2007): 72–74, 79–81, fig. 4, 5.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.