@article{oai:tobunken.repo.nii.ac.jp:00006007,
 author = {江村, 知子 and Emura, Tomoko},
 issue = {421},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {Two major works by Ogata Kôrin (1658-1716), namely his relatively early period Irises (pair of six-panel screens, Nezu Museum) and his late period Red and White Plum Blossoms (pair of two-panel screens, MOA Museum of Art), are both flower themes, depicted in full color on a gold leaf ground. And yet, there are massive differences in the linework depicting the subjects, the color technique and composition. In the period between their productions, Kôrin traveled several times from Kyoto to Edo over the course of 1704–1709 (Hôei 1–6), and there created works. While in Edo Kôrin is thought to have seen and studied paintings of such kanga (Chinese painting) lineage artists as Sesshû and the Kanô school, and his own painting style was further developed by these experiences. Given the unknowns about the details of his artwork production background or what he actually did in Edo, much room for investigation remains.
     This article examines Kôrin’s production around the time of his sojourns in Edo, focusing on works that bear the “Dôsû” （道 崇） seal. First, I confirm details of the three benchmark “Dôsû” seal works, namely Flowers and Grasses of the Four Seasons (four panels, private collection), Azaleas (Hanging scroll, Hatakeyama Memorial Museum of Fine Art) and Waves (two-panel screen, The Metropolitan Museum of Art), and then examine A Budding Plum Tree (six-panel screen, Freer Gallery of Art, Washington, D.C.) which had yet to be subjected to a detailed study. This screen entered the Freer collection in 1905, and was owned prior to that time by Thomas E. Waggaman, a Washington, D.C. industrialist. The screen appears in his collection catalogue published in 1896. During its time in the Waggaman collection, the screen was displayed in his home gallery to both artists and art lovers. When Waggaman’s business collapsed in 1904, his assets were dispersed. An auction of his artworks, one of the largest of its kind in America at the time, was held and Charles L. Freer bought four paintings, including A Budding Plum Tree. Ernest E. Fenollosa wrote the note of the auction catalogue and comments of this work.
     Compositionally A Budding Plum Tree is weighted towards the left, where the large trunk of a white blossom plum tree is shown rising out of the top of the composition, only to turn back and hang down into the central panels. Blossoms are seen budding on its branches. A flowing stream and earthen mound are seen in the lower section, with Kôrin’s signature “Hôkkyô Kôrin” and “Dôsû” round relief seal appearing on the center of the screen’s left edge. There is pigment loss and damage to the painting paper itself, and there is evidence of restoration work that would be considered inappropriate by contemporary cultural properties conservation standards. These factors are a hindrance to its viewing and appreciation. In particular, there are both small and large areas of damage in the central third and fourth panels, which were subjected to supplementation, overpainting and other repair, and that leads to a sense of incongruity with the following panels five and six. The sense of unnatural expression in the work derives from this later restoration work, and it means very careful observation of the painting surface is required. While A Budding Plum Tree has issues in terms of its condition, it also includes some extremely important elements that indicate it can be considered in relation to Kôrin himself.
　A panel of this screen is made up of three sheets of paper, thus indicating that it was made from large-scale paper imported from China. This use of three vertical registers of paper is rare, with the majority of the panels in Kôrin’s folding screens made up of five registers of paper. In the premodern era there are some examples of three-register folding screens by Kanô and Unkoku school artists, and it can thus be surmised that Chinese-made paper was used to accord with the Chinese-style painting subjects primarily expressed in ink painting form. Kôrin’s use of a three-register array of paper can be considered to be an influence from kanga lineage works encountered during his time in Edo, and this screen an experiment in composing an ink plum tree across a large, six-panel screen format. While this experiment cannot necessarily be considered to have succeeded in terms of Kôrin’s oeuvre, it can be considered important for his later painting production.
     Plum trees and plum blossoms were subjects closely connected to Kôrin, as seen in such paintings as his Red and White Plum Trees, and his Bamboo and Plum Tree (twopanel screen, Tokyo National Museum) and his preparatory drawings for maki-e works seen in The Konishi Family Collection of Kôrin Archives. Indeed, it would not be an exaggeration to say that he depicted plum trees or plum blossoms wherever possible. Elements such as the form of the plum tree trunk here, with its sinuous curves or abrupt angle bends, his depiction of plum blossoms in three different forms, face on, profile and buds, all are characteristics shared with the plum-related forms in other Kôrin works. Thus the article concludes that A Budding Plum Tree is a work that reveals both the painting style changes that occurred in his time in Edo, and was one step in the ongoing process of his later painting style development.},
 pages = {1--20},
 title = {尾形光琳の江戸在住と画風転換―フリーア美術館所蔵｢白梅図屛風｣を中心に―},
 year = {2017}
}