Wrinkle method - Shunpo

A painting technique used in oriental painting to depict the folds of mountains and rocks. It is a type of oriental shading technique used to express the three-dimensionality and volume of mountains, earthenware, rocks, etc. In ancient China, its primitive form can be seen in mountain paintings from the Qin and Han dynasties, but it can be said to be non-realistic and conceptual. Later, various wrinkle techniques appeared with the development of landscape painting, and these were further formalized and specific names came to be used. Himashun means wrinkles that resemble unfolded hemp cords, and is said to have originated with Dong Yuan, a painter from the Five Dynasties to the beginning of the Song dynasty, and is a linear wrinkle used mainly in Southern School paintings. Kaiso wrinkles, random mahō, zema wrinkles, oxwort wrinkles, and lotus leaf wrinkles belong to this lineage. In contrast, axe slit wrinkles are wrinkles that resemble cleaved surfaces cut by an axe, have a more planar character, and were often used in Northern School paintings. There are two types, large and small, and it is said that large axe slit wrinkles originated with Li Si-xun (Tang Dynasty) and small axe slit wrinkles with Li Tang (Song Dynasty). In addition, rain dot wrinkles are said to have originated with Wang Wei (Tang Dynasty) and were used by Dong Yuan, Ju Ran, and others, before being perfected by Mi Fu of the Northern Song Dynasty. Mi Fu's are particularly known as rice dots, and are horizontal dots, but what is called mud-removed nails wrinkles are the same rain dot wrinkles but with vertical dots. After the literati painting style was established in the late Yuan dynasty, their use gradually increased, and in painting treatises from the late Ming and early Qing dynasties, more than 30 types of wrinkle techniques can be seen.

[Yasushi Murashige]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

東洋画における山石(さんせき)などの皴(ひだ)を描く画法。山、土坡(どは)、岩石などの立体感や量感を表現するための一種の東洋的陰影法である。中国では古く秦(しん)・漢代の山岳図にその原始的形態をみることができるが、非写実的・観念的なものといえる。その後、山水画の発展とともに各種の皴法が現れ、さらにこれらが形式化して特定の名称が用いられるようになった。披麻皴(ひましゅん)は麻の緒を開披したような皴の意で、五代～宋(そう)初の画家董源(とうげん)に始まると伝わり、主として南宗画に用いられた線的な皴である。解索皴、乱麻皴、芝麻皴、牛毛皴、荷葉皴などはこの系統に属する。これに対し斧劈(ふへき)皴は斧(おの)で切り開いた劈面のような皴で、面的な性格が強く、北宗画に多く用いられた。これには大小2種あり、大斧劈皴は李思訓(りしくん)（唐）、小斧劈皴は李唐(りとう)（宋）に始まるといわれている。このほか、雨点皴は王維(おうい)（唐）に始まるとされ、董源、巨然(きょねん)らに用いられたのち、北宋の米芾(べいふつ)が完成したもの。米芾のものはとくに米点とよばれ、横点であるが、泥裏抜釘(でいりばってい)皴と称されるものは同じ雨点皴でも竪点(じゅてん)である。元末の文人画風成立後はしだいに増加し、明(みん)末清(しん)初の画論には30種以上の皴法がみえる。

［村重　寧］

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