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隆能源氏「柏木」の表現に就いて
https://tobunken.repo.nii.ac.jp/records/6991
https://tobunken.repo.nii.ac.jp/records/6991a1086f76-ead1-4779-a8db-ef6c77e93d64
名前 / ファイル | ライセンス | アクション |
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165_1_Shirahata_Redacted.pdf (8.4 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 | 隆能源氏「柏木」の表現に就いて | |||||
タイトル | ||||||
タイトル | The Style of Depiction in the “Kashiwagi” Scenes from the Scroll-painting Tales of Genji | |||||
言語 | en | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 源氏物語絵巻柏木(東京 尾張徳川黎明会蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | The Style of Depiction in the “Kashiwagi” Scenes from the Scroll-painting Tales of Genji | |||||
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 |
白畑, よし
× 白畑, よし× Shirahata, Yoshi |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Of the nineteen sections existing of the famous scroll-painting Tales of Genji attributed to Fujiwara Takayoshi, the three treating of the scenes from the Chapter of Kashiwagi are accredited with peculiarly high artistic value. The chapter is the best part of the original story, too, for it describes the climax of the tragic love story of the hero Genji in his late years, in which he is subjected to the Divine Providence about his immoral love with his mother-in-law, Lady Fujitsubo. The illustration of the chapter therefore is naturally treated with particular importance. The Chapter of Kashiwagi in this scroll is depicted in three scenes. These three excel other sections by far in the skillful, refined compositions and the vivid, elegant colouring. They are admirably descriptive of the respective stories illustrated, thoroughly depicting the atmospheres produced by the entangling love affairs. The first section is centered around Genji the hero of the romance, Onna Sanno-miya the Imperial princess married to him, and the Emperor the father of Sanno-miya. She was the most beloved daughter of the Emperor, so that he married her to Genji who was a courtier of prominent influence despite the too much difference of their ages. The young San-no-miya falls in an illicit love with the young nobleman, Kashiwagi, and the trouble becomes known to Genji. Under the burden of guilt she wishes to become a nun, and refuses the earnest entreaty of Genji to remain in his house. Genji hurriedly requests the Emperor to come to his house. The scene depicts the meeting of these three persons. The second section is the house of Kashiwagi. He is mortally ill from the sense of sin, and is visited by Yūgiri, a good friend of his and son of Genji. Ka. shiwagi tacitly tells him the cause of his illness, and asks Yūgiri to plead Genji for him. The third section chiefly depicts Genji, pathetically embracing Kaoru the daughter born of San-no-miya and Kashiwagi. To conceal the scandal he has to call the unlawful child his own, and he feels he is being punished for his own past sin with Fujitsubo. He weeps of guilt and terror. The pictures are now preserved in separate sections, though originally they were, of course, in scroll form. There should be sections inscribed with the text of the stories between them, so that the pictures make independent sections even in the original scroll form. On the other hand, however, they are inseparably connected not only in the sequence of stories but also in the manner of depiction and arrangement, as follows. The middle section of the Kashiwagi House is shown in front view, and the first and the third ones are presented on its either side in a sort of bird's-eye view, showing the inside of the houses as if they have no roofs. That is to say, these three when arranged side by side make a symmetry with the second section in the middle. This may be regarded as the system of forming a group of three fashionable in the Heian Period, as is illustrated by the shape of the Phoenix Hall of the Byōdō-in Temple, Kyoto which has the Central Hall and two “Wing Corridors,” the plan of the Shindenzukuri type of residential architecture (though no real specimen exists to-day) having the Main House in the middle flanked by annex buildings, and Buddhist statues and images in the sanzon or triad form in which the central Buddha is attended on either side by bodhisattvas. The three sections of the Chapter of Kashiwagi reflect the general trend of the age, and are successful in producing a peculiar atmosphere by the continuation of closely associated scenes. Another characteristic of this scroll-painting lies in the treatment of tragic atmospheres latent in respective scenes. In all of three the main characters therein are presented in quiescent poses, which at a glance do not show any indication of ex cited passion. Only, Onna San-no-miya and the Emperor in the first scene cover their faces with hands, and Genji in the second is depicted with the body slightly twisted obliquely. But the atmosphere of uneasiness is presented more in the depiction of attendant ladies, for example, the one shown in the adjoining room in the first scene whose fluctuating clothes symbolically represent her inner agony. Her pose writhing the body has a pathetic effect like in a dance of sorrow. The many strings hanging from the curtains, making impressively undulating curves, appear as if they play the melodies accompanying the dance. These expressions of the tragedy noticed in the Kashiwagi scenes of the Tales of Genji are supreme specimens of one of the most important characteristics of Japanese art: the expression of a latent passion. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 165, p. 1-11, 発行日 1952-04-15 |