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武家肖像画の真の像主確定への諸問題（上）―長谷川信春筆武田信玄・伝名和長年像併に伝足利尊氏・義尚像について―
https://tobunken.repo.nii.ac.jp/records/6292
https://tobunken.repo.nii.ac.jp/records/62923e2069db-4832-403b-a14f-58af1c41b180
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
345_1_Katou_Redacted.pdf (20.5 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
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| 公開日 | 2017-10-05 | |||||||||
| タイトル | ||||||||||
| タイトル | 武家肖像画の真の像主確定への諸問題（上）―長谷川信春筆武田信玄・伝名和長年像併に伝足利尊氏・義尚像について― | |||||||||
| タイトル | ||||||||||
| タイトル | Problems of Identification of Portrayed Warriors: The Cases of “Takeda Shingen” and “Nawa Nagatoshi (?),” both by Hasegawa Nobuharu, “Ashikaga Takauji” and “Ashikaga Yoshihisa” (Part I) | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 長谷川信春筆武田信玄像（和歌山 成慶院蔵）・狩野探幽筆東照権現像（徳川家康像・栃木 輪王寺蔵） | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | “Takeda Shingen” by Hasegawa Nobuharu (Tohaku), The Seikeiin, Wakayama / “Tosho Gongen” by Kano Tan’yu, The Rinnoji, Tochigi | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | journal article | |||||||||
| 著者 |
加藤, 秀幸
× 加藤, 秀幸
× Kato, Hideyui
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | The author, who questioned the traditional attributions of portrayed figures without direct proofs like an inscription in the painting or a title outside the painting, proposes seven conditons for identifying the portrayed figures such as the inscription on the painting and the format and composition of the painting. He considers that the person who meets one or more of the conditions can be the painted person. As for the present state of the four portraits taken up here, the author considers as follows: (1) “TAKEDA Shingen” owned by the Seikeiin (Impor tant Cultural Property) was deformed by cutoff of the inscription at the upper part of the painting ; (2) “NAWA Nagatoshi (?)” of Tokyo National Museum (ICP) has truncation at the right and left sides; (3) “ASHIKAGA Takauji” of the Agency for Cultural Affairs (ICP) has truncation at the right side ; (4) “ASHIKAGA Yoshihisa” (formerly called “ASHIKAGA Takauji”) owned by the Atsuta Jizōin (ICP) has truncation at the right and left sides. The names of the figures whose characteristics were vividly described in these works were deliberately changed by removal of the accompanying document and cutoff of the inscription or other parts of each work. (1) was tampered with for convincing TAKEDA Nobuyoshi, who was a son of TOKUGAWA Ieyasu and who succeeded to the house of TAKEDA Shingen, that the Seikeiin was the authentic mausoleum of the TAKEDA family. (2) was tampered with for selling at a good price, after the restoration of the Imperial government, as a portrait of NAWA Nagatoshi, a loyal subject of the Southern Court. (3) was for treating it as a portrait of ASHIKAGA Takauji, the well-known first shogun of the Muromachi Shogunate. (4) was, as well, for selling it as A SHIKAGA Takauji. This last portrait is now widely believed to be of ASHIKAGA Yoshihisa for the concurrence of the depicted armour and records. In all these cases, the inscription in the respective painting was cut off in order to gain monetary profit. The extinction of the direct family lines made it possible. Next, the question of who they really are takes place. (1) is HATAKEYAMA Yoshitsugu, the lord of Noto, judging from the place the artist worked and from the family crest on the sword mounting. (2) is SAITĀ Yoshiharu who taught equestrianism to SASAKI Yoshikata and the Ashikaga Shogun judging from presumable relationship between the same artist and HATAKEYAMA Yoshitsugu's brother-inlaw, SASAKI Yoshikata who could be the orderer, and from the family crest on the sword mounting. As of (3), the author first thought of a man of TAKASHINA family such as Moronao from the fact that the design of interlocked circles without floral pattern is used on the saddle fitting but could not reach conclusion because there was not a family crest of interlocked circles without floral pattern and because no reliable record could be found. (4) was claimed to be a portrait of ASHIKAGA Takauji in the late Edo Period. The author first considered the possibility of a man of IMAGAWA family, a branch of ASHIKAGA family, from the crest-like design on the stirrup but could not get any decisive idea because of the lack of supporting evidence. The main purpose of such portraits was to be displayed, on certain days of the year, in memorial ritual by the offsprings and related people. The clarification of the data such as the name of the portrayed person, the artist, the date, and the place the work was kept is essential for a portait to be used as a historical and art historical material. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 345, p. 1-15, 発行日 1989-11-27 |
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