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与謝蕪村筆「十宜図」（川端康成記念会蔵）の史的位置
https://doi.org/10.18953/00009064
https://doi.org/10.18953/00009064c8fda875-55f3-4a32-a42d-2eb072a6d5f5
| 名前 / ファイル | ライセンス | アクション |
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434_35_Yasunaga_Redacted (1.3 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
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| 公開日 | 2023-08-31 | |||||||||
| タイトル | ||||||||||
| タイトル | 与謝蕪村筆「十宜図」（川端康成記念会蔵）の史的位置 | |||||||||
| タイトル | ||||||||||
| タイトル | The Historical Context of Yosa Buson’s Ten Pleasures (Kawabata Yasunari Foundation) | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 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 | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.18953/00009064 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 著者 |
安永, 拓世
× 安永, 拓世
× Yasunaga, Takuyo
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | The painting album, Ten Conveniences and Ten Pleasures of Rural Living (NT, Kawabata Yasunari Foundation) is renowned as a joint work by Ikeno Taiga (1723-1776) and Yosa Buson (1716-1783). Taiga and Buson created the album by combining their paintings based on poems composed in a seven-character style by the late Ming- early Qing literatus, Li Yu (1610-1680) at his villa Yiyuan. Taiga chose to depict the Ten Conveniences, Li Yu’s verses describing the convenience and ease of life at Yiyuan. In turn, Buson chose Li Yu’s Ten Pleasures verses that heralded the beauty of nature that changes with the seasons and the weather. While the Ten Conveniences and Ten Pleasures have long been known as a major work by the two artists, full studies contextualizing them within the history of Japanese literati painting have not yet been conducted, and their painting expression has not been fully interpreted or researched. In this article I reexamine the Ten Pleasures, which have been less highly valued than Taiga’s Ten Conveniences, and consider them in terms of Buson’s study of Chinese painting and Taiga’s influence on Buson. This reexamination revealed how Buson employed his high-level understanding of the use of dry brush and scrubbed brushstrokes in the ink expression of his Ten Pleasures. I indicated that this expression reflects influence from the “imitate the ancients” pictures of the late Ming to early Qing dynasties. In sum, while the Ten Conveniences and Ten Pleasures are “poetic intent pictures” based on Li Yu’s poems, Taiga gives his ten images a ""pictures of a garden grove” aspect, while Buson gave his an “imitate the ancients” aspect. This means that the pictures in the painting album fully reflect Chinese tastes in spite of the fact that they are Japanese literati paintings. The album shows Japan’s understanding of late Ming-early Qing Chinese painting at the time all while being, in a sense, constructed like a type of haiku linked verse. Buson’s experiences dealing with Taiga’s Ten Conveniences as he created his own Ten Pleasures paintings went on to exert a massive influence on his later works. In this article I mentioned that Buson may have encountered Taiga’s Landscapes in Six Perspectives / Four Chinese Sages (Kosetsu Museum of Art) in the process of coming to grips with and utilizing Taiga’s Ten Conveniences expression in his own truly Buson fashion. In detail, I indicate that the 4th picture in Taiga’s Four Chinese Sages resembles several of the landscapes of the four seasons pictures painted by Buson after he produced the Ten Pleasures pictures, and that he was close to the human network of Kimura Kenkadô (1736-1802), Hayashi Rôen and Amenomori Shôteki (1732-86). These factors heighten the likelihood that Buson knew Taiga’s Landscapes in Six Perspectives / Four Chinese Sages. I further mentioned how the Ten Conveniences and Ten Pleasures influenced Buson’s late period works; the fact that his study of Chinese painting can be seen in the expressive elements he shared with the painters active in the late Ming and early Qing, and the understanding of Yuan painting seen in Japanese literati paintings which forms the background for his highly developed understanding of dry brush and scrubbing strokes, and thereby offered suggestions for areas for future research. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 434, p. 35-62, 発行日 2021-08-30 |
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