The handscroll entitled "Streams and Mountains without End" in the Cleveland Museum of Art has been described intensively as a key monument of early Chinese landscape painting in a well-known monograph of 1956 by Sherman Lee and Wen Fong. Indeed, this study is so thorough that it might be questioned whether there was any need for further discussion of the painting. However, in recent years a certain amount of controversy has arisen over its dating. Originally placed in the first quarter of the twelfth century (late Northern Sung), it is now thought by several eminent authorities in the field to be more likely to date around 1150 (early Chin), although one dissenting opinion would have it be as early as the last quarter of the eleventh century. This article will focus on a new issue, a proposed iconography of the scroll, and its implications for the dating of the work. The first section will outline the subject matter of the painting as a planned sequence of historical styles; the second will consider the question of whether such an iconographical program is more likely to have originated in late Northern Sung or in early Chin times. Thus, arguments for a specific iconography will first be given on the basis of comparisons with copies of earlier landscape styles and with contemporary descriptions of such styles. Then, in the light of this iconography, the dating of the work will be considered in a relatively broad, cultural and historical, context. It is hoped that the conclusions reached will justify another look at "Streams and Mountains without End."
目次
I. Style as Iconography 197 II. Social Context 204 Chinese Names, Titles and Words 222 Chinese and Japanese References in Notes 223
