@article{oai:tobunken.repo.nii.ac.jp:00006186,
 author = {相澤, 正彦 and Aizawa, Masahiko},
 issue = {394},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {Tosa Mitsuyoshi (1539-1613), head of the Tosa school of painters during the Momoyama period, is primarily known for his the Tale of Genji painting albums and other small-format works. Indeed, research on Mitsuyoshi's largeformat works has languished with almost no advances. This article discusses the large-format works created by Mitsuyoshi and his lineage in terms of two factors: a determination of which works are Mitsuyoshi's benchmark (authentic) works and a consideration of Mitsuyoshi's role in the field of large-format painting.
     The article first addresses Mitsuyoshi's many screen paintings depicting Scenes from the Tale of Genji as his benchmark works. These works were submitted to a consideration in terms of the depictive methods found in Scenes from the Tale of Genji album (Kyoto National Museum) and Scenes from the Tale of Genji mounted on paste-boards (Kuboso Memorial Museum of Arts, Izumi city, Osaka), particularly how he depicted trees, rocks, facial features, and used the added decorative methods of clouds and mist. This consideration resulted in the list of 21 works seen in Chart 1, which date from the Momoyama period through early Edo period and were created by Mitsuyoshi and others in his lineage. Further, from these 21 works, three screen paintings of Scenes from the Tale of Genji were selected as benchmark large-format works, namely the Metropolitan Museum of Art, New York version, the Mary and Jackson Burke Collection version, and the Ex-Motode Family collection version (today in the Kyoto National Museum). The other large-format Mitsuyoshi lineage works were divided into categories. The Freer Gallery version was determined to be a workshop painting. Other works that reveal individual characteristics unlike those of Mitsuyoshi's works were divided into categories I through IV, thus indicating the diversity of the painters within the Mitsuyoshi lineage. Moreover, the article indicated those copies of Mitsuyoshi works by non-Tosa school artists. Finally, the article presents five folding-screen format works in the Mitsuyoshi style other than sliding door and folding screen paintings of Scenes from the Tale of Genji, namely Scenes from the Tale of the Soga Brothers (Watanabe Art Museum), Phoenix and Peafowls with Paulownia and Bamboo (the Cleveland Museum of Art) and Pinetree and Autumn Flowers (Yamatane Museum of Art).
     The article goes on to examine the various functions of Mitsuyoshi's large-format works. Three functions were identified for these works 1) as the inheritor of the imperial court Japanese painting style, 2) as the precursor of the new two-panel screen format, and 3) as the guardian of saiga, the traditional painting methods of Tosa school.
     This article thus re-emphasizes Mitsuyoshi's importance as one of the painters that must not be overlooked in a consideration of Momoyama period painting.},
 pages = {41--67},
 title = {土佐光吉と大画面絵画},
 year = {2008}
}