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玉澗若芬試論
https://tobunken.repo.nii.ac.jp/records/6787
https://tobunken.repo.nii.ac.jp/records/678721848578-c024-4b0a-b153-c8172689f964
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
236_1_Suzuki_Redacted.pdf (12.8 MB)
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| 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 | 玉澗若芬試論 | |||||||||
| タイトル | ||||||||||
| タイトル | A Study of Yu-chien Jo-fen | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 玉澗筆廬山図（東京 吉川文子氏蔵）・玉澗筆洞庭秋月図（石川 矢田松太郎氏蔵）・玉澗筆山市晴嵐図（東京 吉川文子氏蔵）・玉澗筆遠浦帰帆図（東京 黎明会蔵） | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | “View of Lu-shan” by Yu-chien Jo-fen, Coll. Mrs. Yoshikawa Fumiko, Tokyo / A Section of “Eight Views of Hsiao-hsiang”; Harvest Moon over Tung-t’ing Lake, Coll. Mr. Yada Matsutaro, Ishikawa / A Section of “Eight Views of Hsiao-hsiang”; Returning Sails off a Distant Coast, The Reimeikai Foundation, Tokyo | |||||||||
| 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 |
鈴木, 敬
× 鈴木, 敬
× Suzuki, Kei
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | Yü-chien 玉澗, who is as famous as Mu-chi has always been praised till our time as a painter of the “transcendental mode” of the end of the Sung Period and there are fine examples of his works, such as the fragments of the “Scroll of the Eight Views of Hsiao-hsiang” and the fragments of the “View of Lu-shan.” But we have four painters crowned with the name of Yü-chien through the Sung and Yüan Periods, and it is problematical which is the artist of the works we have. Among these four, Mêng Yü-chien i 孟玉澗, who was not a monk and who lived in the latter half of the Yüan Period, can not be and naturally has not been regarded as the artist of these works. As for Pin Yü-chien 彬玉澗, another of the four, we find a poem for his painting in an anthology of a Ch'an monk. But we have not enough material to connect this with the existing “ Yü-chien” works. The other two are Ying Yü-chien 瑩玉澗 and Yü-chien Jo-fên 玉澗若芬. The author earlier presented a hypothetical idea that the “ Yü-chien” we have is Ying Yü-chien, a poet priest in the circle of the famous Ch'an priest Ch'ih-chüeh Tao-ch'ung 癡絶道冲. The reasons were that he was considered to have been one of the pastime painters of the Ch'an Sect, who have been thought to have encouraged ink painting at the end of the Sung Period and that all of the existing works haye Yü-chien's own poems. However, after that, the author found several materials which convinced him that the Yü-chien we have is not Ying Yü-chien but chien Jo-fên, and here presents his new theory. It is as follows. In the anthologies of such literati as Wu Shih-tao 呉師道, Chin Lũ-hsiang 金履祥 and Wang Po 王柏, who are from Chin-hua 金華 as well as Yü-chien Jo-fên, and who were active at the end of Sung and the beginning of Yüan, he found the name of Fên Yü-chien; and there he also found the facts that he was good at simple transcendental ink painting and that he always wrote his own poem on his painting. Not only that, he made it clear that the biography of Yü-chien Jo-fên in Sung-chai-mén-pú 松斎梅譜, written by Wu Tai-su 呉太素, is a rather precise record of Jo-fên and Jo-fên's paintings as he saw and heard of them. From these facts, WEM, the author judges it more reasonable to consider this priest of the Tien-t'ai Sect from Chin-hua of Chê-ching Province as the artist of the extant works than to connect Ying Yü-chien, the poet priest, and these works. This new idea rises a new question for the student of Sung and Yüan ink painting, who generally have tended to em phasize the relationship between the Sung and Yüan ink paintings and the church of the Ch'an sect : on the one hand, it proposes a question about artists' personal taste which may, more than the religious attitude of the Chan sect, have promoted this artistic trend, and also a question about the possible relationship of this trend to the tradition of ink painting in Chê-chiang Pro vince and to the prevalance of the transcendental style in the Sung Period. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 236, p. 1-14, 発行日 1965-03-31 |
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