An ichiranzu 一覧図 is a type of bird's-eye view chōkanzu 鳥瞰図 or overhead view fukanzu 俯瞰図 map. Nevertheless, these three terms differ slightly in meaning, the distinction being presence of absence of spatial range and topographical accuracy. The structure of the bird's-eye view map includes the locations of famous spots and roads, which, when compared with the characteristics of an ichiranzu, the spatial construction of the view from the sky to theground is an imaginary scenic realisation. Ichiranzu appeared with the growth of interest in travel and famous places during the later Edo period, and can therefore be considered to simultaneously embody maps and painting: painting-like maps, or map-like paintings. The painting of famous places that arose from the desire to visit these spots thus needed to embrace these two qualities of map-like painting and painting-like map, this being a reaction or corresponding response to the desire "to visit" and the desire "to see". In order "to visit" the famous spots, it was necessary to provide topographical information, and to satisfy the desire "to see", it was necessary to provide some visual painting-like aesthetic. Ichiranzu are therefore the concrete realisation or combination of the two elements of "map" and "painting" and the topographical portrayal of famous spots. This paper explores the position of ichiranzu as painting, and considers the iconographic images specifically focusing on two representative works of toshi ichiranzu: the Edo ichiranzu and the Karaku ichiranzu, both by Kuwagata Keisai and Yokoyama Kazan, as these two works clearly reflect the "map" and "painting" qualities of ichiranzu.
展开▼
