{"created":"2023-05-15T13:35:00.068860+00:00","id":6214,"links":{},"metadata":{"_buckets":{"deposit":"60a9fac5-9ff2-401e-8573-a94e4c68b23b"},"_deposit":{"created_by":3,"id":"6214","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6214"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006214","sets":["20:968:988"]},"author_link":["26359","26358"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2010-03-26","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"400","bibliographicPageEnd":"54","bibliographicPageStart":"16","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":"     Crows in Plum Trees (six fusuma sliding door panels, \nKyoto National Museum) were formerly owned by the Kuroda family (former feudal lords of the Fukuoka clan). Originally these fusuma panels were wall paintings in Fukuoka Castle in present-day Chuo-ku, Fukuoka city. The Kuroda family said that these were the works of Unkoku Tôngan (1547-1618), and that originally they were used as wall paintings in Najima Castle in present-day Higashi-ku Fukuoka city. Therefore, modern art historians have generally understood that Kobayakawa Takakage (1533-1597) began to expand Najima Castle in Tenshô 16 (1588), and Tôgan painted these works not much later. However, a new theory was heralded in 1991 that Tôgan's son, Tôeki (1591-1644), painted the wall paintings for Fukuoka Castle around the beginning of the 17th century. Since then, the debate has continued about the painter and dating of these fusuma paintings. Recently, the Fukuoka Art Museum held an exhibition Fukuoka and the Unkoku School – Mysteries of Panel Paintings of Castle “Plum Trees and Crows” (January 6 to February 8, 2009). With the materials shown in the exhibition as a starting point, this article experiments with one theory on this subject.\n     First, a set of rough sketches exists in a scratch pad of a Fukuoka clan painter, along with several floor plans for the Central Palace of the Main Enclosure (Hon-maru) of Fukuoka Castle. These materials show the situation of the fusuma panels in the Room of Plum Trees (or Chamber No. 2; Ume-no-ma) of the Audience House (Taimen-jo) during the late Edo period. By matching up those sketches with the strange present-day state of complex paper seams on the paintings, it becomes clear that at the very least once there were major changes made to the work up until its late Edo period state.\n     Next, analysis of the room floor plan of the Audience House of the Main Enclosure, Fukuoka Castle shows that major changes were made at least twice from the original floor plan of the structure which should be called the guest house (onari-shoin), to its late Edo period format. These changes were made in tandem with the changing usage and positioning of the structure, and clearly the wall panel paintings for the structure, including Crows in Plum Tree, were restructured at least twice.\n     Then the author noted a unique aspect of the history of the Fukuoka Castle and hypothesized as follows. First, the Guest House at Najima Castle was converted into the residence of the Eastern Enclosure (Higashi-no-maru) of Fukuoka Castle. Second, Kuroda Nagamasa (1568-1623) demolished the Main Tower (Tenshu-kaku) and the Central Palace at the Main Enclosure of Fukuoka Castle. Third, Nagamasa's son, Tadayuki (1602-1654) reconstructed the Central Palace in the Main Enclosure with some structures from the residence of the Eastern Enclosure, etc. During this process, the Guest House at Najima Castle was converted into the Audience House at Fukuoka Castle.\n     Continuing, the Crows in Plum Trees panels are made of ink and colors on gilded paper, while in general such works would have been painted solely in ink on gilded paper or in colors and gold on paper. This irregular choice of materials and method, combined with the subject matter of crows in plum trees, can be surmised to have had some important\nmeaning for the Unkoku family. Further, it can also be suggested that the reason the artist chose this method, a relatively short-lived painting method, was that, in spite of the fact that the Crows in Plum Trees painter was granted permission to use the normally time-consuming full color on gold wall panel painting method, he was, in fact, rushed in his production of those panels.\n     Then let us look back over Unkoku Tôgan's career and notice that he was rushed in his production only once. Indeed, the production of the wall panel painting for Hiroshima Castle was accomplished in a sudden burst of activity. In the 4th month of Tenshô 20 (1592), Toyotomi Hideyoshi (1537-1598) was traveling from Kyoto to HizenNagoya (present-day part of Karatsu city, Saga) to take up his duties as leader of the Korean invasions. During that journey he visited Hiroshima Castle and stayed several nights. The wall panel painting production at Hiroshima Castle is thought to have been undertaken to entertain Hideyoshi, and thus it seems that the Mori family commissioned Tôgan to paint these panels to honor Hideyoshi's visit and their role as his hosts. As reward for fulfilling this project, in the 10th month of Bunroku 2 (1593) the clan lord Môri Terumoto (1553–1625) presented Tôgan with Sesshû's old atelier Unkoku-ken in Yamaguchi and Sesshû's long handscroll painting Landscape of Four Seasons (present-day collection of Môri Museum).\n     However, that was not all. With the movement of Hideyoshi, the de facto ruler of Japan, special lodging facilities were set up along each of his routes. During these visits, Hideyoshi only stayed two or so nights in Hiroshima (Môri Terumoto's base town) and Najima (Kobayakawa Takakage's base town) within the Môri-Kobayakawa domain. Thus, at the very least, undoubtedly the Najima Castle was fitted with a splendidly outfitted lodging for Hideyoshi's exclusive use, i.e. the guest house. Further, given the surrounding circumstances, this was a sudden construction, and it was fully possible that after completing the work in Hiroshima, Tôgan raced to Najima and completed the work there. It would also be fully likely that such a special structure as the Guest House would have been later moved to Fukuoka Castle.\n     Finally, an evaluation of Kuroda Family lore was conducted, namely concerning whether these paintings are by Unkoku Tôgan and were formerly wall panel paintings in the Najima Castle. With the addition of some stylistic analysis of the paintings, it can only be concluded that the wall panel paintings of the Lower Chamber (or Chamber No. 2; Gedan-no-ma) of the Guest House at Najima Castle, where Hideyoshi was housed on the 21st day of the 4th month of Tenshô 20, could be by Unkoku Tôgan, given that none of the known circumstances would have prevented such authorship. The Crows in Plum Trees is the only extant work today that is a direct expression of the memory of the “large painting (taiga)” style by Kano Eitoku (1543-1590) in the late Tenshô period, which had been unheard of before then.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"綿田, 稔"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Watada, Minoru","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":"400_16_Watada_Redacted.pdf","filesize":[{"value":"12.9 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"400_16_Watada_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6214/files/400_16_Watada_Redacted.pdf"},"version_id":"2023e42d-e0f2-4b41-ab94-589c1a8d8fa7"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"雲谷等顔筆「梅に鴉図」（京都国立博物館蔵）天正20年・1592年・本丸御殿・小早川隆景・豊臣秀吉・毛利輝元・黒田長政・広島城・文禄の役・肥前名護屋下向・太閤御動座・秀吉御成・紙本金地墨画著色・小広間・初期障屏画・雲谷派・狩野永徳・大画","subitem_subject_scheme":"Other"},{"subitem_subject":"Crows in Plum Trees, by Unkoku Togan, Kyoto National Museum","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"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":"雲谷等顔筆「梅に鴉図」考―名嶋城御成書院から福岡城対面所へ―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"雲谷等顔筆「梅に鴉図」考―名嶋城御成書院から福岡城対面所へ―"},{"subitem_title":"Study of Unkoku Togan’s Crows in Plum Trees: From the Guest House at Najima Castle to the Audience House at Fukuoka Castle","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["988"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6214","relation_version_is_last":true,"title":["雲谷等顔筆「梅に鴉図」考―名嶋城御成書院から福岡城対面所へ―"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:45:34.671792+00:00"}