“Singing the dyads : the Chinese landscape scroll and Gary Snyder's Mountains and rivers without end” (Publication, 1999)
Year
1999
Text
Hunt, Anthony. Singing the dyads : the Chinese landscape scroll and Gary Snyder's Mountains and rivers without end. In : Journal of modern literature ; vol. 23, issue 1 (1999). (Sny20)
Type
Publication
Mentioned People (1)
Snyder, Gary
(San Francisco, Calif. 1930-) : Schriftsteller, Dichter, Professor of English, University of California Davis
[Reproduction of the texts with the permission by Gary Snyder, January 2013].
[Reproduction of the texts with the permission by Gary Snyder, January 2013].
Subjects
Literature : Occident : United States of America
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References / Sources
Chronology Entries (2)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1955 |
Snyder, Gary. Endless streams and moutains. In : Orion ; vol. 14, no 3 (1955). Commenting on a line from Kanglikui's colophon to the scroll, Snyder observes : "The remark leads a viewer to turn the handscroll slowly and to journey through the streams and mountains and into the mists and clouds. The scroll is read from right to left and one is affected by the nature as if actually there. The journey a viewer makes through the canvas is marked clearly : There is a path that can followed even if, at times, there are alternate paths to create variety, and always along a passage, a reader experiences a harmony with nature." |
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| 2 | 1996 |
Snyder, Gary. Mountains and rivers without end [ID D29321]. Endless streams and mountains. Ch'i shan Wu Chin Clearing the mind and sliding in to that created space, a web of waters streaming over rocks, air misty but not raining, seeing this land from a boat on a lake or a board slow river, casting by. The path comes down along a lowland stream Slips behind boulders and leafy hardwoods, Reappears in a pine grove, no farms around, just tidy cottages and shelters, gateways , rest stops, roofed but unwalled work space, - a warm damp climate; a trail of climbing stairsteps forks upstream. Big ranges lurk behind these rugged little outcrops – these spits of low ground rocky uplifts layered pinnacles aslant, flurries of brushy cliffs receding, far back and high above, vague peaks. A man hunched over, sitting on a log another stands above him, lifts a staff, a third, with a roll of mats or a lute, looks on; a bit offshore two people in a boat. The trail goes far inland, somewhere back around a bay, lost in distant foothill slopes & back again at a village on the beach, and someone's fishing. Rider and walker cross a bridge above a frothy braided torrent that descends from a flurry of roofs like flowers temples tucked between cliffs, a side trail goes there; a jumble of cliffs above, ridge tops edged with bushes, valley fog below a hazy canyon. A man with a shoulder load leans into the grade. Another horse and a hiker, the trail goes up along cascading streambed no bridge in sight – comes back through chinquapin or liquidambars; another group of travelers. Trail's end at the edge of an inlet below a heavy set of dark rock hills. Two moored boats with basket roofing, a boatman in the bow looks lost in thought. Hills beyond rivers, willows in a swamp, a gentle valley reaching far inland. The watching boas has floated off the page. At the end of the painting the scroll continues on with seals and Poems. It tells a further tale : '- Wang Wen-wei saw this at the mayor's house in Ho-tung Town, year 1205. Wrote at the end of it, 'The Fashioner of Things has no original intentions Mountains and rivers are spirit, condenses.' '…Who has come up with these miraculous forests and springs ? Pale ink on fine white silk.' Later that month someone named Li Hui added, '…Most people can get along with the noise of dogs and chickens; Everybody cheerful in these peaceful times. But I – why are my tastes so odd? I love the company of streams and boulders.' T'ien Hsieh of Wei-lo, no date, next wrote, '…the water holds up the mountains, The mountains go down in the water…' In 1332 Chih-shun adds, '…This is truly a painting worth careful keeping. And it has poem-colophons from the Sung and the Chin dynasties. That it survived dangers of fire and war makes it even rarer.' In the mid-seventeenth century one Wang To had a look at it: 'My brother's relative by marriage, Wên-sun, is learned and has good taste. He writes good prose and poetry. My brother brought over this painting of his to show me...' The great Ch'ing dynasty collector Liang Ch'ing-piao owned it, but didn't write on it or cover it with seals. From him it went into the Imperial collection down to the early twentieth century. Chang Ta-ch'ien sold it in 1949. Now it's at the Cleveland Art Museum, Which sits on a rise that looks out toward the waters of Lake Erie. Step back and gaze again at the land. it rises and subsides – ravines and cliffs like waves of blowing leaves – stamp the foot, walk with it, clap turn, the creeks come in, ah strained through boulders, mountains walking on the water, water ripples every hill. – I walk out of the museum – low gray clouds over the lake – Chill March breeze. Old ghost ranges, sunken rivers, come again stand by the wall and tell their tale, walk the path, sit the rains, grind the ink, wet the brush, unroll the broad white space: lead out and tip the moist black line. Walking on walking, Under foot earth turns. Streams and mountains never stay the same. Note : A hand scroll by this name showed up in Shansi province, central China, in the thirteenth century. Even then the painter was unknown, 'a person of the Sung Dynasty.' Now it's on Turtle Island. Unroll the scroll to the left, a section at a time, as you let the right side roll back in. Place by place unfurls. ……… Hsüan Tsang went to India 629 AD returned to China 645 with 657 sûtras, images, mandalas, and fifty relics – a curved frame pak with a parasol, embroidery, carving, incense censer swinging as he walked the Pamir the Tarim Turfan the Punjab the doab of Ganga and Yamuna, he carried 'emptiness' He carried 'mind only' Vijnaptimâtra The humpbacked flute player Kokop'ele His hump is a pack. ............. The humb-backed flute player Shooting the Hundred-Pace Rapids Su Tung P'o saw, for a moment, It all stand still. "I stare at the water : It moves with unspeakable slowness". ……….. Sekundärliteratur 1999 Anthony Hunt : Gary Snyder told Katherine McNeil that "Mountains and rivers is a title for a number of Chinese landscape paintings. One is by the Yuan dynasty painter Xuben, whose work inspired me. I'm writing about the complementarity of mountains and rivers, but that's really the planet, taking that on." The Cleveland scroll is an unsigned handscroll done in ink and slight coloring on silk with nine colophons that provide information about the work's early history. Forty-eight seals of collectors, including eight belonging to Liang Qingbiao (1620-1691), give further evidence of the transmission of the scroll from the 1340s on ; but it is now thought by several eminent authorities to be more likely to date around 1150. Snyder draws attention to the scroll's anonymity in a note that concludes the first section of his poem 'the painter was unknown, a person of the Sung dynasty'. The misty painted Chinese mountains seen by Snyder in Seattle are 'real' on several levels : in a generic sense they appear to him a true reflection of the kind of mountains with which he grew up, the verifiable Cascade and Olympic ranges. Yet the mountains painted by the Chinese artist were not the mountains of the Pacific Northwest, but in their carefully drawn verisimilitude they are a real image of those Chinese mountains. These are mountains that Snyder feels are 'magical and difficult, the routes are not clear, yet they are passable'. After the Yuan dynasty, Snyder theorizes that 'painting kept love of nature alive' for a civilization that was 'living more in cities and farther from the hills'. At times, Snyder walks the spaces of the landscape painting as if they were actually under his feet ; the trails of the painting are maplike in his mind. At other times, his understanding moves outside the painting as he coolly becomes critical of its style or of the civilization that style reveals. And then there are the times when he clearly imagines going 'beyond' into the spaces farther than the spaces of the painting, into 'visionary timeless lands of mountain rocks and air-mist-breath and far calm vistas'. Snyder has painted numberless little travelers across the scroll of his poetic landscape. Some are historical, while some are mythical or legendary ; some are ghostly ; many are human, and many more are animal. 'Fellow travelers in the scroll' as Snyder said, 'are the Chinese pilgrim Xuanzang, bears, and elderly farm woman, wild sheep, the female Buddha Tira, woodrats, Coyote, Raven, macaque monkey, the poet Su Shi, the Ghost Dance prophet Wovoka, and many others'. Snyder's concept of space always includes the possibility of Buddhist enlightenment. 2000 Robert Kern : Snyder pays tribute to certain teachers – those, for example, from whom he learned the discipline of the calligrapher's and painter's brush and pen, a discipline that becomes and important motif in the poem. He also acknowledges the importance to him of certain experiences, primarily of wilderness landscapes – mountains and rivers, in the Pacific Northwest and elsewhere – but also of representations of such landscapes, particularly in Asian art, encountered in books and museums. It was in Asian paintings that he became aware of 'the energies of mist, white water, rock formations, air swirls – a chaotic universe where everything is in place'. In this way, his direct experience of the natural world seems to have merged with what he saw in artistic representations of it, and a similar merging of nature and culture takes place in the poem. Another key element that animates the poem is Zen Buddhism. Instead, as the title of the book in its several variations suggests, it is Asian landscape paintings, and especially hand scrolls, that provide Snyder with his most immediate structural format. Such paintings, as Snyder points out, are 'not fully realized until several centuries of poems have been added'. The sections of 'Mountains and rivers' are contributions to the realization of the paintings that the book as a whole evokes, and one of Snyder's metaphors for producing them derives from the techniques of Asian painting. 2009 Joan Qionglin Tan : After his return to America, Snyder visited some museums and a Chinese Song dynasty landscape painting entitled 'Streams and mountains without end' in Cleveland inspired him to us it with the similar title 'endless streams and mountains' in the opening poem of his book. Snyder made a series of long walks from different directions : a cultural walk through Chinese landscape scroll painting and through Native American lore, a physical walk through the real mountainous landscapes of China, Japan, India and North America, and a mental walk through Buddhist ideas, rituals and histories. Following natural boundaries, he made a great effort to explore the notions of origins and destinations through an extended meditative practice focusing upon the theme of 'walking on walking'. This project is an extended act of spiritual exploration and orientation through which Snyder hopes to create a set of guiding principles for a modern culture potentially set adrift from a sense of location or direction. Snyder gives the reader the best endnote pertaining to his deep sympathy for mountain practice. It covers a wide range : from his early mountaineering to his part-time work in the mountains ; from his Zen practice to his building a house in the foothills ; from his learning 'East Asian landscape painting as a meditative exercise' to his observation of Chinese landscape paintings in the museums ; and from his translation of Chinese poetry to his watching the Japanese Nô play 'Yamamba' (Old mountain woman). Snyder explains that he obtained this sense from the discernable natural energy of fluidity in Eastern Asian landscape paintings, such as mists, water, rocks, and clouds. In the Chinese tradition, these natural energies refer to the 'yin' and 'yang', a balanced dynamic force in nature. 2009 Robin Cheng-hsing Tsai : In Mountains and rivers without end Snyder's cultural translation of Chinese literature, art and painting, resonates with Chinese motifs that help us to experience non-duality. In these exo-poetic figures, symbols, emblems or motifs, the real and virtual, profane and sacred, eye and gaze are juxtaposed in such a way what the polar ends are brought together. Snyder's translation of nature from the original Chinese texts expresses an insight that is both immanent and transcendent. The first poem 'Endless streams and mountains' is the gateway to the rest of the work. 'Ch'i Shan Wu Chin' is a Chinese landscape painting. Hsüan Tsang : Snyder tells the saga of the seventh-century Chinese monk Hsüan Tsang. In Snyder's hands, Hsüan Tsang and Kokop'ele are bringers of new ideas, appearing multifariously as culture 'carriers' or translators, journeyers and tricksters. Unlike Hsüan Tsang, who is mor of an ascetic, Kokop'ele is a bringer of sun and rain for good crops and a fertility god. |
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Cited by (1)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 2000- | Asien-Orient-Institut Universität Zürich | Organisation / AOI |
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