Paintings Described in “Syusanzu”: the Role of the Viewer

Akutagawa Ryunosuke wrote “Syusanzu” (“A Painting of Autumn Mountains”) based on Qing Dynasty literati painter Yun Nantian’s “A Note on the Painting of Autumn Mountains”(originally collected in his art critique anthology “Postscripts of Paintings by Ouxiangguan”). More often than not, adaptations become mere imitations and lack originality. Yet Akutagawa’s “Syusanzu” was well received by critics. Yoshida Seiichi praised this story, saying that Akutagawa expressed his view on life and art through this ingenious masterpiece. Of course, many other scholars have compared “Syusanzu” with “A Note on the Painting of Autumn Mountains” to prove its originality (we refer the reader to the body of the paper for details).
Akutagawa grew up in a time when art in Japan was entering a new era. Art exhibitions were frequently held by both the government and private collectors, bringing paintings closer to the public. Going to an exhibition and critiquing paintings became an important part of artistic activities.
This paper aims to interpret the art views and Chinese sentiments Akutagawa intended to express through “Syusanzu”by referencing previous studies done by Peng Chun-yang, Qiu Ya-fen etc from a Chinese perspective. Other than comparing and contrasting the difference between “Syusanzu” and its Chinese original, this paper will also analyze the comments on paintings made by viewers in this story and the narrator’s descriptions of the paintings. Correspondence between Akutagawa and his friends, as well as other works of Akutagawa with similar structures (e.g. “Numa no Chi”) will also be referenced.