{"created":"2023-05-15T13:34:54.203937+00:00","id":6087,"links":{},"metadata":{"_buckets":{"deposit":"06d96937-2e2d-47e8-9267-5b6ac21d7b19"},"_deposit":{"created_by":3,"id":"6087","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6087"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006087","sets":["20:946:961"]},"author_link":["27927","27926"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2015-03-20","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"415","bibliographicPageEnd":"72","bibliographicPageStart":"67","bibliographic_titles":[{"bibliographic_title":"美術研究"},{"bibliographic_title":"The bijutsu kenkyu : the journal of art studies","bibliographic_titleLang":"en"}]}]},"item_10001_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"6. Kanô Shunko, Karako (Chinese Children) at Play Pair of two-panel screens, color on paper, Each screen H. 50.0 cm, W. 171.6 cm\n     This pair of half-height, two-panel folding screens depicts so-called karako (Chinese children) at play. The right screen shows the children playing various musical instruments, along with auspicious painting themes such as the shôchikubai (pine-bamboo-plum) combination and crane and tortoise combination, all alongside karako playing with pull-carts. The left screen shows other karako playing hide and seek, the peony and peacock as symbols of wealth and power, and other children painting ink paintings. Images of karako were one of the popular themes painted on wall and panel paintings of 17th century Buddhist nunneries and women’s buildings in the imperial and shogunal palaces. They came to symbolize the world of women’s palace culture. This painting can be considered one of Kanô Shunko’s masterpieces, with the addition of the traditional gentlemanly pursuits theme of kinki shoga (zither playing, chess, painting and calligraphy) set against a background of traditional Kanô school landscape scenery and gold mist and clouds scattered across its entire surface.\n\n7. Deer in an Autumn Field, Pair of six-panel screens, color on paper, Each screen, H. 148.5 cm, W. 341.6 cm\n     Deer are seen against a space filled with autumn grasses on this pair of six-panel screens. The right screen depicts, from the right, morning glories, patrinia, Japanese pampas grass, bushclover and ivy, with a stag standing with his back to the viewer in the third panel. The left screen, from the right, depicts hydrangeas, bellflowers, Japanese pampas grass, wild chrysanthemums, morning glories, bushclover, hibiscus, chrysanthemums and other plants, with a pair of deer seated in a dense thicket of bushclover on the fourth panel. The deer/bushclover combination was an animal-plant pairing signaling autumn in waka poetry since antiquity. Numerous paintings and decorative artworks were created which incorporated that poetic sentiment. This work is characterized by its separate use of different techniques to depict the autumn grasses, from ink painting to mineral pigments and organic dyestuff, and its rendering of simple but elegant expanse of an autumn field through careful use of a gentle color palette and adroit placement of tonal variation. Both screens are impressed with the “I’nen” seal used by the Sôtatsu school.\n\n8. Maruyama Ôkyo, Carp, Crucian Carp and Turtle, Twopanel screen, color on silk, H. 57.8 cm, W. 171.6 cm\n     This small, furosaki byôbu (folding screen) depicts a crucian carp, two carp and two turtles. The carp is a frequently seen traditional painting theme, and Ôkyo’s own hanging scroll images of the theme are well known. This work presents the auspicious themes of carp and turtle, combined with a single crucian carp, all presenting a cooling waterside scene. Overall the composition is painted in pale ink, blue pigment and gold paint, while a humorous touch is added to the composition through the meeting of the gazes of the carp on the far right and the turtle on the far left. While Ôkyo based this painting on sketches from life, he also fully employed creative touches as he was strongly aware of how this painting would be viewed as an artwork.\n\n9. Suzuki Kiitsu, Flowering Plants, Two framed panels, Color on gold ground on paper, Each H. 24.4 cm, W. 79.0 cm\n     Kiitsupaintedbracken, violets, horsetails , chrysanthemums, Japanese pampas grass, nurude (Chinese sumac) and spearflowers on gold ground-covered paper on four small sliding door panels. Today those panels have been mounted into two framed panels, with each framed panel consisting of two of the sliding door panels surrounded by a lacquered wooden frame. The hand pull fittings are incised with bushclover and fujibakama (Eupatorium fortunei), plant types not included in the painted images, and it is thought that the hand pulls have accompanied the paintings from their inception. These works were commissioned for use as small sliding door panels in the upper section of a chigaidana (built-in staggered shelves) arrangement in a shoin-zukuri type room. The painting style and signature and seals indicate that Kiitsu created these autumn grasses paintings during his mature period in his later years.\n\n10. Utagawa Toyoharu, Beauty, Hanging scroll, color on silk, Inscription, H. 32.3 cm, Painting H. 31.6 cm, W. 46.3 cm\n      This hanging scroll presents a painting of a beauty by Utagawa Toyoharu, topped with an inscription by Santô Kyôden. Given that the ground silk pieces used for the inscription and the painting are of different qualities, it is not certain that the two works were originally paired. The inscription has Santô Kyôden’s signature and seals. The date at the end of the inscription corresponds to 1793 (Kansei 5). Toyoharu is known as the founder of the Utagawa school of ukiyo-e artists. He almost exclusively produced paintings, rather than prints, during the latter half of his life. Many of his paintings of beauties are known today. Judging from the woman’s hairstyle and the painting style, this painting is thought to date from the Kansei era (1789–1801). While this accords with the date of the Kyôden inscription, that text includes playful comments about the pleasure quarters, mention of seasonal scenery and Chinese-style poetry, and thus it cannot be said to match this painting.\nat the end of the inscription corresponds to 1793 (Kansei 5). Toyoharu is known as the founder of the Utagawa school of ukiyo-e artists. He almost exclusively produced paintings, rather than prints, during the latter half of his life. Many of his paintings of beauties are known today. Judging from the woman’s hairstyle and the painting style, this painting is thought to date from the Kansei era (1789–1801). While this accords with the date of the Kyôden inscription, that text includes playful comments about the pleasure quarters, mention of seasonal scenery and Chinese-style poetry, and thus it cannot be said to match this painting.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"江村, 知子"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Emura, Tomoko","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2017-10-05"}],"displaytype":"detail","filename":"415_67_Emura_Redacted.pdf","filesize":[{"value":"1.3 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"415_67_Emura_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6087/files/415_67_Emura_Redacted.pdf"},"version_id":"1639eb79-5aeb-4899-b067-65b04a2e4052"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"journal article","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"研究資料　続稀蹟雑纂―ポートランド美術館所蔵作品簡解（二）―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"研究資料　続稀蹟雑纂―ポートランド美術館所蔵作品簡解（二）―"},{"subitem_title":"Material for Art Research, Comments on Little Known Paintings: A Brief Introduction to Works in the Portland Art Museum (II)","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["961"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6087","relation_version_is_last":true,"title":["研究資料　続稀蹟雑纂―ポートランド美術館所蔵作品簡解（二）―"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:48:57.337522+00:00"}