The Pleasures of Fishing, After Wang Wei

When suddenly moving from a darkened space into the sun, there is a moment when the outside world appears white. It would seem that what is portrayed in this work is nature, bathed in a strong light, and thus seen through this same halation effect. In gazing at this painting, which has made use of a dry brush technique and a light touch, the retina finally recognises a concrete image. The soft gentle lines that create the crags and the different pointillism techniques that are used to illustrate the tree leaves create a surge that develops as it moves up the painting. There is no uncertainty in the viewer’s understanding of the object.
The tree leaves and the waves that reflect the bright sunlight have been delicately executed. It is impossible to ignore the expression of the thick tree trunks that have been painted with the brush at an oblique angle to break the monotony. The rhythm of the shading gives birth to movement, dimension, and color, making it hard to believe that only one tint of ink has been used. The figures of the fisherman as they exchange cups of sake and the faces of the children oblivious to all as they play in the water are richly expressive.
The inscription, “In the style of Wang Wei”, at the top right of the scroll does not refer to the painting techniques, but rather to Ike no Taiga’s deep affection for a verse entitled The Voiceless Poem by the Tang-dynasty poet and portrait painter Wang Wei (699–759), a figure he admired his entire life. Taiga, who perfected Japanese Nanga painting, was in his forties when he executed this work, unforgettable with its sensitivity to light.