WEKO3
アイテム
{"_buckets": {"deposit": "b2d2858b-b486-4cf1-bd44-c8c4ec87da66"}, "_deposit": {"created_by": 3, "id": "6762", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6762"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006762", "sets": ["1146"]}, "author_link": ["27490", "27491"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1964-03-31", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "230", "bibliographicPageEnd": "26", "bibliographicPageStart": "1", "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": " In and around the Genna-Kan\u0027ei eras (1615-1634) many genre paintings were produced, mostly in Kyoto. Most of these were hand-painted. They have a hedonic tendency to portray such playful scenes of the gay quarter as depicted in the so-called “Hikone Byōbu” Screen and lowclass women of pleasure called yuna. They are, in a sense, the forerunner of ukiyoe wood block prints and ukiyoe paintings which were originated by HISHIKAWA Moronobu. And from this point of view they are often called “ukiyoe forerunners.” IWASA Matabei (1578-1650) has for a long time been considered as the originator of ukiyoe and most of the “ukiyoe forerunners” have been attributed to him. But nevertheless his life and repertory of work were enigmatic. It was not before the end of the nineteenth century that his name was found to have been Shōi (Katsumochi) and works with this signature and stamp were subsequently recovered to determine his standard style, and further, his personal history was gradually unveiled. But among the works with the signature or stamp of Shōi, genre paintings were seldom included, and it raised suspicions regarding the traditional opinion of calling him the founder of ukiyoe. The elaborately coloured picture scrolls Yamanaka Tokiwa and Jōruri were discovered in 1930. They are akin to the standard works of Matabei in style and technique and at the same time have characteristics in common with the so-called “ukiyoe forerunners.” Therefore they have been said to be works of Matabei, but another opinion views them as not his works and this is because their ostentatious expression is not a part of his standard style. After a long controversy the latter opinion has gained weight.\n But when we follow the controversy, we find more room for discussion. The author, who reexamines this problem, published in No. 42, Bijutsushi an investigation of a group of fully coloured picture scrolls, including Yamanaka Tokiwa and some “ukiyoe forerunners ” which are closely related. As the result of the comparative study of these works, the author concluded all were produced by an atelier presided over by a peculiarly talented artist (A), and that among these, the picture scrolls Yamanaka Tokiwa and Horie Monogatari, which are the most original, are the works of the artist (A) himself. \n In the present paper he tries to find the relationship between these works and those with a signature or stamp of Shōi. In the first chapter he selects the most standard works from among those with his sign or stamp, and from these he reconstructs his stylistic development while pointing out some common characteristics. The distinctive characteristics are the vulgar nature of the content and expression which is typical of most of the “ukiyoe forerunners,” a personal affectation in rendering figures, and a curious, uncouth representation.\n Then he discusses the relationship of these works and the works of the atelier of the artist (A). He considers that the resemblance of the figure expression of the two groups is at least the result of production by the same painting school. Similarities also appear in the treatment of clouds, trees, animals, etc. Above all, the documented works of Shōi and Yamanaka Tokiwa and Horie Monogatari may be determined as coming from the hand of the same painter because of their original nature and the perfect correspondence of these morphological characteristics. This means that artist (A) is Matabei himself. It is presumed that Matabei presided over an atelier from around 1615 to 1635 when he lived in Fukui, and produced many picture scrolls in a new style including Yamanaka Tokiwa and genre paintiugs while there. It is easy to consider that by this work he strongly influenced the development of the genre painting of the age. In fact he was called “Ukiyo Matabei” in the book Empekikenki published about a quarter a century later.\n One interesting fact is that the scrolls concerned have an extraordinarily exaggerated expression. Especially Yamanaka Tokiwa has a tendency toward decadence with a profligate, bloody and sadistic mood. It might be explained as allowing vent to the artist\u0027s psychological tendencies which were suppressed in his stand ard works.\n In the peaceful age brought by the final establishment of the Edo Military Government, many of the warriors came to spend their days in a playful, hedonic atmosphere. MATSUDAIRA Tadanao, then the local lord of Fukui, is typical among them. Inspite of being a grandson of TOKUGAWA Ieyasu, the military lord, he was not well compensated for his distinguished me. rits in the battle against the Toyotomi clan. In dissatisfaction he spent his days in sensual pleasures. In 1623 he was exiled to Kyūshū because he killed his people without reason. And IWASA Matabei, according to Empekikenki, was favoured by MATSUDAIRA Tadanao while in Fukui. The scrolls Yamanaka Tokiwa and Horie Monogatari are of that period, to judge from the style and by the fact that the former was once owned by the descendants of the MATSUDAIRA family. The hedonic sadistic tendency of the scrolls might be looked on as the result of the combination of MATSUDAIRA Tadanao and IWASA Matabei who was a son of a local lord and who lost his mother and most of his family in battle and was obliged to live by the profession of painting.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "辻, 惟雄"}], "nameIdentifiers": [{"nameIdentifier": "27490", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Tsuji, Nobuo", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27491", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2017-10-04"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "230_1_Tsuji_Redacted.pdf", "filesize": [{"value": "43.1 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 43100000.0, "url": {"label": "230_1_Tsuji_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6762/files/230_1_Tsuji_Redacted.pdf"}, "version_id": "794e7432-5761-4005-8481-a8d1fa50317d"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "堀江物語絵巻(三重 古森収蔵氏蔵)・山中常磐絵巻(静岡 熱海美術館蔵)・岩佐又兵衛筆官女観菊図(大阪 細見亮一氏蔵)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Painted Scroll of Horie Monogatari, Coll. Mr. Komori Shuzo, Mie / Painted Scroll of Yamanaka Yokiwa, Atami Museum, Shizuoka / “Court Lady Viewing Chrysanthemums” by Iwasa Matabei, Coll. Hosomi Ryoichi, Osaka", "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": "岩佐又兵衛の作画範囲", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "岩佐又兵衛の作画範囲"}, {"subitem_title": "Repertory of the Work of Iwasa Matabei", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1146"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6762", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6762", "relation": {}, "relation_version_is_last": true, "title": ["岩佐又兵衛の作画範囲"], "weko_shared_id": 3}
岩佐又兵衛の作画範囲
https://tobunken.repo.nii.ac.jp/records/6762
https://tobunken.repo.nii.ac.jp/records/676234c1022c-0ae5-4000-bb39-170f5161960e
名前 / ファイル | ライセンス | アクション |
---|---|---|
230_1_Tsuji_Redacted.pdf (43.1 MB)
|
Item type | 学術雑誌論文 / Journal Article(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 岩佐又兵衛の作画範囲 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Repertory of the Work of Iwasa Matabei | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 堀江物語絵巻(三重 古森収蔵氏蔵)・山中常磐絵巻(静岡 熱海美術館蔵)・岩佐又兵衛筆官女観菊図(大阪 細見亮一氏蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Painted Scroll of Horie Monogatari, Coll. Mr. Komori Shuzo, Mie / Painted Scroll of Yamanaka Yokiwa, Atami Museum, Shizuoka / “Court Lady Viewing Chrysanthemums” by Iwasa Matabei, Coll. Hosomi Ryoichi, Osaka | |||||
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 |
辻, 惟雄
× 辻, 惟雄× Tsuji, Nobuo |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | In and around the Genna-Kan'ei eras (1615-1634) many genre paintings were produced, mostly in Kyoto. Most of these were hand-painted. They have a hedonic tendency to portray such playful scenes of the gay quarter as depicted in the so-called “Hikone Byōbu” Screen and lowclass women of pleasure called yuna. They are, in a sense, the forerunner of ukiyoe wood block prints and ukiyoe paintings which were originated by HISHIKAWA Moronobu. And from this point of view they are often called “ukiyoe forerunners.” IWASA Matabei (1578-1650) has for a long time been considered as the originator of ukiyoe and most of the “ukiyoe forerunners” have been attributed to him. But nevertheless his life and repertory of work were enigmatic. It was not before the end of the nineteenth century that his name was found to have been Shōi (Katsumochi) and works with this signature and stamp were subsequently recovered to determine his standard style, and further, his personal history was gradually unveiled. But among the works with the signature or stamp of Shōi, genre paintings were seldom included, and it raised suspicions regarding the traditional opinion of calling him the founder of ukiyoe. The elaborately coloured picture scrolls Yamanaka Tokiwa and Jōruri were discovered in 1930. They are akin to the standard works of Matabei in style and technique and at the same time have characteristics in common with the so-called “ukiyoe forerunners.” Therefore they have been said to be works of Matabei, but another opinion views them as not his works and this is because their ostentatious expression is not a part of his standard style. After a long controversy the latter opinion has gained weight. But when we follow the controversy, we find more room for discussion. The author, who reexamines this problem, published in No. 42, Bijutsushi an investigation of a group of fully coloured picture scrolls, including Yamanaka Tokiwa and some “ukiyoe forerunners ” which are closely related. As the result of the comparative study of these works, the author concluded all were produced by an atelier presided over by a peculiarly talented artist (A), and that among these, the picture scrolls Yamanaka Tokiwa and Horie Monogatari, which are the most original, are the works of the artist (A) himself. In the present paper he tries to find the relationship between these works and those with a signature or stamp of Shōi. In the first chapter he selects the most standard works from among those with his sign or stamp, and from these he reconstructs his stylistic development while pointing out some common characteristics. The distinctive characteristics are the vulgar nature of the content and expression which is typical of most of the “ukiyoe forerunners,” a personal affectation in rendering figures, and a curious, uncouth representation. Then he discusses the relationship of these works and the works of the atelier of the artist (A). He considers that the resemblance of the figure expression of the two groups is at least the result of production by the same painting school. Similarities also appear in the treatment of clouds, trees, animals, etc. Above all, the documented works of Shōi and Yamanaka Tokiwa and Horie Monogatari may be determined as coming from the hand of the same painter because of their original nature and the perfect correspondence of these morphological characteristics. This means that artist (A) is Matabei himself. It is presumed that Matabei presided over an atelier from around 1615 to 1635 when he lived in Fukui, and produced many picture scrolls in a new style including Yamanaka Tokiwa and genre paintiugs while there. It is easy to consider that by this work he strongly influenced the development of the genre painting of the age. In fact he was called “Ukiyo Matabei” in the book Empekikenki published about a quarter a century later. One interesting fact is that the scrolls concerned have an extraordinarily exaggerated expression. Especially Yamanaka Tokiwa has a tendency toward decadence with a profligate, bloody and sadistic mood. It might be explained as allowing vent to the artist's psychological tendencies which were suppressed in his stand ard works. In the peaceful age brought by the final establishment of the Edo Military Government, many of the warriors came to spend their days in a playful, hedonic atmosphere. MATSUDAIRA Tadanao, then the local lord of Fukui, is typical among them. Inspite of being a grandson of TOKUGAWA Ieyasu, the military lord, he was not well compensated for his distinguished me. rits in the battle against the Toyotomi clan. In dissatisfaction he spent his days in sensual pleasures. In 1623 he was exiled to Kyūshū because he killed his people without reason. And IWASA Matabei, according to Empekikenki, was favoured by MATSUDAIRA Tadanao while in Fukui. The scrolls Yamanaka Tokiwa and Horie Monogatari are of that period, to judge from the style and by the fact that the former was once owned by the descendants of the MATSUDAIRA family. The hedonic sadistic tendency of the scrolls might be looked on as the result of the combination of MATSUDAIRA Tadanao and IWASA Matabei who was a son of a local lord and who lost his mother and most of his family in battle and was obliged to live by the profession of painting. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 230, p. 1-26, 発行日 1964-03-31 |