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風俗から見た源氏物語絵詞
https://tobunken.repo.nii.ac.jp/records/7031
https://tobunken.repo.nii.ac.jp/records/7031c156685b-6948-478f-b192-247e9d5c55ba
| 名前 / ファイル | ライセンス | アクション |
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174_53_Suzuki_Redacted.pdf (11.8 MB)
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正誤表 (347.8 kB)
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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 | 風俗から見た源氏物語絵詞 | |||||||||
| タイトル | ||||||||||
| タイトル | The Genji Monogatari Scroll Paintings from the Standpoint of Costumes and Interiors | |||||||||
| 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（東京 徳川黎明会蔵）・源氏物語絵巻柏木詞書断簡（書芸文化院蔵・岸家旧蔵田中親美氏模本） | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | The Genji Monogatari Scroll Paintings from the Standpoint of Costumes and Interiors | |||||||||
| 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, 敬三
× 鈴木, 敬三
× Suzuki, Keizo
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | If one compares the fragments of the scroll paintings of the Genji Monogatari in the possession of the Tokugawa and the Masuda families to the text of the novel, one is aware that these fragments seem to have been preserved in groups. However, a careful comparison of the nineteen scenes shows that each one has its own particular characteristics. In the treatment of the costumes and the interiors the manner of expression varies among the different scenes, and there are some scenes of a completely individual type. There are, for example, three different manners of portraying the every-day clothes (nōshi) worn by the aristocracy and of showing the several layers of colours of the under-garments and outer garments. The design on the hitoe (woman's undergarment) is sometimes different on the verso and the recto of the same garment. In other scenes this is not true and the two surfaces of the garment bear the same desigin. Even in the kuchikigata design of the hanging curtain-screen, there are some five different ways of applying the colour ; some colours are thick, some are thin and their application varies from the very adroitly painted to the awkward. The manner of painting is also different. There is apparently no doubt that a certain number of painters collaborated in the painting of this scroll. Among them, the most important were responsable for the first composition as well as for the finishing touches. The fact that there were several principal painters is proved by the difference in the scenes resulting from the painter's knowledge of court life, from the greater or lesser use of detail, and from the understanding of the meaning of the written text. Accordingly, if an attempt is made to group the scenes which exist today, those showing the best knowledge of the imperial court are Kashiwagi, Suzumushi and Minori. Those scenes best describing the novel are Yokobue, Yūgiri and Takekawa. The senes least carefully represented from the point of view of costume and interiors are Hashihime Yadorogi and Azumaya. As far as the chronology of the costumes is concerned, the shape of the crowns and the every-day clothing of the men show forms posterior to those worn by courtiers in the door painting of the Ujigami Shrine in Kyoto. This shrine is considered to have been constructed before 1124. Thus 1124 may be accepted as the earliest date limit to which the Genji Monogatari scroll paintings may be assigned. | |||||||||
| 内容記述 | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | 第174号に本論文の正誤表掲載。 | |||||||||
| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 174, p. 53-66, 発行日 1954-03-30 |
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