@article{oai:tobunken.repo.nii.ac.jp:00006425,
 author = {鈴木, 廣之 and Suzuki, Hiroyuki},
 issue = {339},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {HARA Tomitarō (1868-1939), famous collector and patron of arts, shifted many historical buildings from their original sites to the large garden of the Sankeien villa which he built in Hommoku, Yokohama. The Rinshunkaku, an elegant sukiya-style residence, is one of such buildings. Michio FUJIOKA theorized that the Rinshunkaku was originally constructed in 1649 in the villa known as Iwadegoten of the Kishū branch of the TOKUGAWA family, and was moved to Kasugade-shinden in Osaka after the MESHI family became its owner around 1764. This opinion was published in “Sankeien Rinshunkaku no Shoden to Sono Zenshin Tatemono (Record and Origin of the Rinshunkaku of the Sankeien)” in Kenchikugakkai Rombun Hōkokushū No. 54, 1956, and was reprinted in his book Kinsei Kenchikushi Ronshū (Studies on the History of Pre-modern Architecture) in 1969.
     According to the present author's research, most of the partition paintings in the Rinshunkaku by such painters as KANŌ Tan'yū (1602-74), KANŌ Yasunobu (1614-86), KANŌ Tsunenobu (1736-1713), KANŌ Chikanobu (1660-1728) and Untaku Tōetsu (-1675 ? ) were not produced for the Rinshunkaku, but already existing paintings were remounted for this building. It is clear that the six sets of screen paintings of “Beach with Pine Trees” attributed to KANŌ Sanraku, “Four Elegant Pastimes” and “Birds and Flowers” by Tan'yū,  “Landscape” by Yasunobu, “Eight Views of HsiaoHsiang” by Tsunenobu, and “Landscape” by Tōetsu were initially folding screen paintings and that “Cranes” by Chikanobu was at first a sliding screen painting and was remounted.
     A folding screen was fitted into a wall area of a room with as little harm to the painting as possible. The wall area of each room for which the painting was remounted is larger than the size of the picture plane of the original folding screen. Instead of leaving the empty space, it was supplemented with newly painted designs or segments of a screen painting in a similar style by an anonymous painter. The author supposes that there was an established intention behind such intricate wall ornamentation. This supplement was done presumably after the death of these painters and apparently before the building became the possession of HARA Tomitarō, but the time and the person who planned and realized it are not known. This problem is to be examined in the future.},
 pages = {1--21},
 title = {三渓園臨春閣障壁画の復元的考察},
 year = {1987}
}