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光明寺所蔵羅漢図について―重層的な作品理解を目指して―
https://doi.org/10.18953/00009181
https://doi.org/10.18953/00009181aeb809e1-8f7b-4d68-a399-be72065496bd
| 名前 / ファイル | ライセンス | アクション |
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437_1_Maizawa_Redacted (2.2 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||||||
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| 公開日 | 2024-08-31 | |||||||||||||
| タイトル | ||||||||||||||
| タイトル | 光明寺所蔵羅漢図について―重層的な作品理解を目指して― | |||||||||||||
| タイトル | ||||||||||||||
| タイトル | The Arhat (Jpn: Rakan) Painting at Kômyôji (Tokyo): Towards a Multilayered Understanding of its Content and History | |||||||||||||
| 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 | 10.18953/00009181 | |||||||||||||
| ID登録タイプ | JaLC | |||||||||||||
| 著者 |
米沢, 玲
× 米沢, 玲
× 安永, 拓世
× Maizawa, Rei
× Yasunaga, Takuyo
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| 抄録 | ||||||||||||||
| 内容記述タイプ | Abstract | |||||||||||||
| 内容記述 | Today Kômyôji (Tokyo) owns an Arhat painting (Jpn: rakan-zu, referred to here as the Kômyôji rakan-zu) that we discovered had been published with illustrations and explication in 1895 (Meiji 28) in Kokka No. 74. While Kokka introduced the work as a Chinese painting, conversely, Hashimoto Gahô’s accompanying note [添状] for the painting dated that same year stated, “Kose no Ômi hitsu” [巨勢相覧筆 Painted by Kose no Ômi]. In other words, it had been painted by the Heian period painter Kose no Ômi [巨勢相見]. While we know that Katano Shirô (片野四郎, 1867-1909) owned the painting at the time of the Kokka No. 74 article, it is unclear how it was acquired by Kômyôji, and given no further introduction of the work in the intervening years, there has been no real opportunity for a discussion of the work within the history of painting. In this article we have used various approaches, including examining its painting style and modern era provenance, to advance discussion of the Kômyôji rakan-zu and thus position it within a multilayered context, namely the history of painting, and also the history of how it was produced and received. In Chapter 1, Maizawa discusses its painting style and doctrinal background, and introduces the results of the optical survey of the work. First, judging from its painting style, the work shares aspects with 14th century Yuan dynasty examples, and Maizawa indicates that it was produced within that general time period. The Kômyôji rakan-zu displays idiosyncratic iconography not found in other examples, such as the Arhats with hands clasped in prayer, attendants, Tenbu, Kalavinka (Karyôbinga) and Jivamjivaka (Gumyôchô), while the Mani Jewel in the center of the composition has been conflated with a Buddhist relic, and thus it is thought the painting subject is Arhats making offerings to a Buddhist relic. The painting theme of Arhats worshiping a reliquary can be found in Northern Song dynasty Arhat paintings, and thus the Kômyôji rakan-zu can be positioned within that lineage. Supplemental painting silk and brushwork was discerned in the infrared, macro and fluorescent images taken in the optical survey of the work, and thus we know that the Kômyôji rakan-zu was repaired on numerous occasions. Maizawa further indicated that judging from the photographs of the work published in the 1895 Kokka article and Taishô era records, major conservation work was carried out on the painting after Katano’s death. In Chapter 2, Yasunaga investigated Katano Shirô’s career and the modern reception of the Kômyôji rakan-zu. Katano was an antique art appraiser active in the Meiji period, and like his father Yûhei (邑平), was an art collector. In addition to involvement in the compilation of the expanded and annotated version of the Koga bikô biographical dictionary of painters Zôtei: Koga bikô (増訂古画備考), through such activities as introducing works he and his father owned in art magazines of the day, he was a person who left major traces in the nascent period of the study of Japanese art history, and built a diverse human network of painters and scholars. Auction catalogues and various other records indicate that after Katano Shirô’s death the Kômyôji rakan-zu was sold at auction as a Kose no Ômi Arhat painting and acquired by Inoue Kaoru (井上馨, 1836-1915). Inoue’s conservation work on the scroll included having it remounted in 1912 (Taishô 1). Yasunaga further indicates that historical documents show that Arhat paintings by Kose Kanaoka (巨勢金岡) were handed down and copied by Kanô school painters. The attribution of the Kômyôji rakan-zu to Kanaoka’s son Ômi was based on painting connoisseurship knowledge continued from the pre-modern era. Hashimoto Gahô’s accompanying statement shows that this understanding of the work had been handed on, while conversely, the fact that the painting was introduced in Kokka as a Chinese painting that same year can be seen as evidence that new value systems and appreciation of works had appeared in the modern era. Given this, we can position the Kômyôji rakan-zu within the history of painting as a Yuan dynasty Arhat painting that had inherited and handed on Northern Song dynasty painting subjects. And, through investigations of its modern provenance, it also stands as a fascinating example of the history of how artworks were received within the study of Japanese art history. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 437, p. 1-30, 発行日 2022-08-30 |
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