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Tōeki, an artist of the Unkoku School conte nporary with Tan-yū, also studied Sesshū’s paintings, and has left a copy of the pair of folding-screens of flower-and-birds now existing in the Ōhashi Collection. The Ōhashi screens, too, have been believed authentic. The kakemono in Mr. Hauge\u0027s collection are definitely similar in compositions to certain details of the Ōhashi screens, as well as of another pair of screens formerly in the Maeda Collection which had been widely known as examples of Sesshū\u0027s flower-and-bird painting. Whether the kakemono are authentic as certified by Tan-yū or not, however, should be left to further researches.\n That Sesshū studied Chinese Ming painting is evident from the “Landscapes of the Four Seasons” which he painted during his stay in Ming China. In colour painting, for example, his image of Jurō in the Hachisuka Collection was based upon a Ming piece portraying Shou-hsing, as was discussed in the Kokka, No. 111. Sesshū has been frequently said to have followed the antique styles of Sung and Yüan paintings, but the fact that he wished to, and actually did, go to Ming China proves that he was deeply interested also in Ming art, and that he introduced its mode into his own. In this connection it should be noted that flower-and-bird paintings by or ascribed to Sesshū are akin more to Ming pieces than to Sung and Yüan specimens. We have to study here Ming paintings in the time of Sesshū, especially those brought to Japan. The existing pair of kakemono depicting cranes, recorded to have been shown to the Shogun Ashikaga Yoshihisa in 1487, reveals in their compositions the poetic, simplified effect characterized by absence of cluttering background, which had been traditional since the time of Tai Wên-chin early in the Ming Dynasty. The set of four kakemono of flower-and-birds in the Shimazu Collection by Lü Chih in the middle of Ming have marked semblance in their detail parts with Mr. Hauge\u0027s kakemono as well as to flower-and-bird screens ascribed to Sesshū. It is said that, as a matter of comparison with earlier works, the flower-and-bird art in the second half of Ming, represented by Lü Chih, looked for a realistic and at the same time decorative effect. The same state ment can be applied to Sesshū\u0027s flower-and-birds. Undeniably there was some interrelation between Sesshū and late Ming. The present writer is inclined to deny, however, that Sesshū in his last years assimilated the newly-risen style of Lü Chih. He considers that the new Ming style was gradually mastered in Japan during about a century after Sesshū, until it finally led to the establishment of the bright decorative art of the Momoyama Period.\n Regarding the portrait of Masuda Kanetaka reputed as an important specimen of Sesshū’s colour painting, the writer previously tried to discuss that it was not by Sesshū. However, the brushwork employed for drawing in this portrait, compared with those in other pieces on figure subjects such as the above-mentioned Jurō and the image of Su Tung-p\u0027o (although this latter is a copy by another artist), can possibly be identified with Sesshū’s. It is known from literary source that the artist painted an image of the courtier Sanjō Kimiatsu; furthermore, there exists his portrait of the warrior Sue-no-Hiromori, which was painted approximately at the same time and under similar circumstances as that of Kanetaka. The portrait of Kanetaka was executed in conformity with the traditional prescribed form of Japanese portraiture like the images mentioned above, but is characterized by much sharper and more powerful brush strokes than Hiromori image. The writer cannot help admitting that this should be reasonably attributed to Sesshū.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "熊谷, 宣夫"}], "nameIdentifiers": [{"nameIdentifier": "28064", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Kumagai, Nobuo", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "28065", "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": "2016-12-27"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "185_17_Kumagai_Redacted.pdf", "filesize": [{"value": "16.2 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 16200000.0, "url": {"label": "185_17_Kumagai_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6917/files/185_17_Kumagai_Redacted.pdf"}, "version_id": "3373a442-cd10-40d4-b6f4-5703940e9450"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "雪舟筆益田兼堯像(東京 益田兼施氏蔵)・雪舟筆梅くぐり寿老人図・伝雪舟筆花鳥図(ワシントン ヴィクトル・ハウゲ氏蔵)室町水墨画", "subitem_subject_scheme": "Other"}, {"subitem_subject": "A Study on Sesshu\u0027s Paintings in Colors", "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": "雪舟彩色画論", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "雪舟彩色画論"}, {"subitem_title": "A Study on Sesshu\u0027s Paintings in Colors", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1184"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6917", "pubdate": {"attribute_name": "公開日", "attribute_value": "2016-12-27"}, "publish_date": "2016-12-27", "publish_status": "0", "recid": "6917", "relation": {}, "relation_version_is_last": true, "title": ["雪舟彩色画論"], "weko_shared_id": 3}
雪舟彩色画論
https://tobunken.repo.nii.ac.jp/records/6917
https://tobunken.repo.nii.ac.jp/records/69171a049f48-97e9-4192-a79c-fb9bc3368782
名前 / ファイル | ライセンス | アクション |
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185_17_Kumagai_Redacted.pdf (16.2 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2016-12-27 | |||||
タイトル | ||||||
タイトル | 雪舟彩色画論 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | A Study on Sesshu's Paintings in Colors | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 雪舟筆益田兼堯像(東京 益田兼施氏蔵)・雪舟筆梅くぐり寿老人図・伝雪舟筆花鳥図(ワシントン ヴィクトル・ハウゲ氏蔵)室町水墨画 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | A Study on Sesshu's Paintings in Colors | |||||
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 |
熊谷, 宣夫
× 熊谷, 宣夫× Kumagai, Nobuo |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The pair of flower-and-bird kakemono (hanging scrolls) traditionally ascribed to Sesshū, in the collection of Mr. Victor Hauge, was certified as genuire by Kanō Tan-yū who made its copy during the Kambun era (1661-1672). Tōeki, an artist of the Unkoku School conte nporary with Tan-yū, also studied Sesshū’s paintings, and has left a copy of the pair of folding-screens of flower-and-birds now existing in the Ōhashi Collection. The Ōhashi screens, too, have been believed authentic. The kakemono in Mr. Hauge's collection are definitely similar in compositions to certain details of the Ōhashi screens, as well as of another pair of screens formerly in the Maeda Collection which had been widely known as examples of Sesshū's flower-and-bird painting. Whether the kakemono are authentic as certified by Tan-yū or not, however, should be left to further researches. That Sesshū studied Chinese Ming painting is evident from the “Landscapes of the Four Seasons” which he painted during his stay in Ming China. In colour painting, for example, his image of Jurō in the Hachisuka Collection was based upon a Ming piece portraying Shou-hsing, as was discussed in the Kokka, No. 111. Sesshū has been frequently said to have followed the antique styles of Sung and Yüan paintings, but the fact that he wished to, and actually did, go to Ming China proves that he was deeply interested also in Ming art, and that he introduced its mode into his own. In this connection it should be noted that flower-and-bird paintings by or ascribed to Sesshū are akin more to Ming pieces than to Sung and Yüan specimens. We have to study here Ming paintings in the time of Sesshū, especially those brought to Japan. The existing pair of kakemono depicting cranes, recorded to have been shown to the Shogun Ashikaga Yoshihisa in 1487, reveals in their compositions the poetic, simplified effect characterized by absence of cluttering background, which had been traditional since the time of Tai Wên-chin early in the Ming Dynasty. The set of four kakemono of flower-and-birds in the Shimazu Collection by Lü Chih in the middle of Ming have marked semblance in their detail parts with Mr. Hauge's kakemono as well as to flower-and-bird screens ascribed to Sesshū. It is said that, as a matter of comparison with earlier works, the flower-and-bird art in the second half of Ming, represented by Lü Chih, looked for a realistic and at the same time decorative effect. The same state ment can be applied to Sesshū's flower-and-birds. Undeniably there was some interrelation between Sesshū and late Ming. The present writer is inclined to deny, however, that Sesshū in his last years assimilated the newly-risen style of Lü Chih. He considers that the new Ming style was gradually mastered in Japan during about a century after Sesshū, until it finally led to the establishment of the bright decorative art of the Momoyama Period. Regarding the portrait of Masuda Kanetaka reputed as an important specimen of Sesshū’s colour painting, the writer previously tried to discuss that it was not by Sesshū. However, the brushwork employed for drawing in this portrait, compared with those in other pieces on figure subjects such as the above-mentioned Jurō and the image of Su Tung-p'o (although this latter is a copy by another artist), can possibly be identified with Sesshū’s. It is known from literary source that the artist painted an image of the courtier Sanjō Kimiatsu; furthermore, there exists his portrait of the warrior Sue-no-Hiromori, which was painted approximately at the same time and under similar circumstances as that of Kanetaka. The portrait of Kanetaka was executed in conformity with the traditional prescribed form of Japanese portraiture like the images mentioned above, but is characterized by much sharper and more powerful brush strokes than Hiromori image. The writer cannot help admitting that this should be reasonably attributed to Sesshū. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 185, p. 17-28, 発行日 1956-09-07 |