Crow On A Branch (#08 / 2006.044)

It is a strikingly simple design. The paper is is good condition, faded but unscratched and uncreased. The individual brushstrokes are not particularly discernible, but are still portrayed as clean, thick and purposeful, indicating a generally good quality printing as well. At the top of the black outlined frame, however, the blue of the sky runs a little outwards, and a blank space without sky is created, but apart from this centrification issue, the printer accurately captured the painting. It is difficult to tell whether or not the lines are sharp or dull, owing to the way the colors, similar hues of grey and black, merge, as opposed to a more delicate composition of fine lines and more complicated details might not. The colors themselves are somewhat faded, though the nature of black is always deep and it is unclear whether or not the blue is intentionally light or whether time made it so.


Moving away from the condition of the print, one notes that the subject is very uncomplicated: a crow on a branch, as the title reflects. Although a common image, certainly not unique to Japan alone, the black bird alone on the branch conveys a sense of serenity and independence, coming from the simplicity and solace of the dark bird against a light, optimistic background. The season in which the image takes place is unclear, although the lack of leaves on the tree may indicate winter. At the same time, it may be more symbolically created without leaves, making the grey and black colors of the bird and tree the same in order to unify them in their natural relationship and element. There is no discernible narrative, though an apt genre might be a reverence for nature. Instead the image is a captured, still moment that may be intentionally created as a moment at any time, an emotional response from any story. The print may be trying to convey a sense of strength and wisdom to the viewer, emphasized by the simplicity of the subject matter and chosen colors. The illusion of the future and a sense of reflection is also indicated in the birds gaze out into the open sky, his perch and the image's center placed heavily on the left side of the image. A contemporary viewer in the painting's time may find it easy to identify with, drawn more by the emotional response than another more entertaining, decorative piece. The print was created to appeal to many and all audiences, with a simple theme and simple message apt in various occasions, a call to independence/reflection and an appreciation of nature.


Formal aspects of the print include the right-centered format, branches struck outwards against the sky. The focus is on the bird and the tree, almost one by that dark, black-grey color, and how both point to the distance of the empty blue sky on the left. There is little direction, the image could be viewed from multiple perspectives, though interestingly it is placed eye level with the viewer, and not up higher or at a distance like it might be observed in reality. There are three elements: the bird, the tree, and the sky. The bird and tree come together, the tree supporting the bird and the bird crafting the personality of the tree by its own gaze and presence. Both are placed sharply against the blue backdrop of the sky, which serves to highlight their color as well as offer a contrast into an otherwise forlorn mood connoted by black, giving perspective and a sense of the future; allowing the bird to look pensively up into the sky. It is a static image because no movement is indicated nor is it necessary for the image's purpose. Shen Nanpin was a realist in the Song Dynasty, and so the attempt of shadow and sculpted mass, as opposed to two-dimensional images, is evident. The image is of chuban (10w x 7.5h) size and not part of a triptych; there is no indication of more tree or the view of the bird.


Evocatively, the viewer gains a sense of calmness and independence, and may think conceptually of loneliness, determination, the future, the simplicity of a bird's life, nature- or some combination thereof. It is sad and reflexive by nature because of the dark colors, the pensive look and the unblossomed tree. The message conveyed may be one connecting the solitary, thoughtful bird to us; a deeper connection to nature, our similarities and gratitude of it, is also insinuated.


Birds are symbolized frequently throughout various different cultures. Interestingly, the most popular Japanese birds in art, the crane and chidori (shore bird), are not depicted in this image, instead there is a more discreet, less beautiful common bird. However, birds are generally used in Japan as motifs for their ability to conquer strong winds and high waves during migration. They can also symbolize longevity and good luck. This particular image may have originally little symbolic intent though, as Shen Nanpin was known more for emphasis on realism and was a native of China rather than Japan, though he studied in Nagasaki for three years. He schooled others in three-dimensional thought and even influencing Katsushika Hokusai, known for his series "Thirty-six views of Mount Fuji". This print is actually from a collection dedicated to great artists in calligraphy and painting and is a copy of the original work. Such Japanese 'copy books' are commonly used to document important and influential works so that they may be spread, learned from and appreciated.