WEKO3
アイテム
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The Chikuan inscription on the Matsuoka work includes a poem written for another painting, Studio of Lofty Rusticity (Jpn: Shûya-dô zu), while the Cologne work inscription is a quotation from a famous dictionary. Thus we can surmise that Chikuan, though renowned for his scholarship and literary talent, was not in the physical health necessary to carefully respond to each demand from his circle. In other words, there may have been a succession of people seeking out the old and frail Chikuan for just one last written memento before he left Kyoto, possibly to never return.\n Girl Ling-chao is unsigned but, stylistically, it is thought to be the work of a pupil of Minchô (1352–1431), a monk painter of Tôfuku-ji Temple in Kyoto. Chikuan was a Tôfuku-ji-lineage high-ranking priest who was at that time also living at the temple, and thus we can see how it was the Tôfuku-ji milieu that gave birth to this work.\n The other piece, Quiet Studio in a Bamboo Grove, is similarly unsigned. And yet, the Chikuan’s inscription at the top of the scroll includes the phrase “kedashi Shûbun hissuru tokoro.” Taken literally, this inscription can only be interpreted as “probably having been painted by Shûbun.” Given the circumstances, it would seem that Chikuan mentioned the artist’s name on the basis of the fact that he was relatively certain of the validity of his information. Stylistically speaking, there is nothing in the work that would deny the attribution. And given that the source imagery for this work is shared with that of Josetsu’s Catching a Catfish with a Gourd (Taizo-in, Kyoto), it is quite likely that this work is indeed by Shûbun’s hand.\n While the study of art history is a discipline that in the end seeks to determine authorship via the painting style itself, in fact, there are not many paintings whose attribution can be determined solely on the basis of style. The characteristics of the period, the characteristics of the painter, the aid of textual and circumstantial evidence—standard authentication procedure sees a combination of all of these elements at work. In this instance, the combined elements can be thought to suggest the considerable likelihood that this painting is by Shûbun. What tips that likelihood into the probable status cannot be seen by the art historian, almost unconsciously trapped within the evaluation frameworks of “art” or “suiboku-ga” (ink painting), or the picture-scroll-with-poetry-calligraphy genre known in Japanese as shi-ga-jiku. Stated another way, it might be too difficult to become aware of the limitations of the modern scholarly discourse paradigm and put aside judgments that focus solely on the facts. 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漢代画像解読法試論―「撈鼎図」を例として―
https://tobunken.repo.nii.ac.jp/records/6041
https://tobunken.repo.nii.ac.jp/records/6041eae2ab83-28b9-444c-bb62-ad8e8e58e9cc
名前 / ファイル | ライセンス | アクション |
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407_1_Hsing_Redacted.pdf (1.6 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 漢代画像解読法試論―「撈鼎図」を例として― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | A Preliminary Methodology on Han Dynasty Carvings: Taking “The Retrieval of the Tripod Carving” as an Example | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 画像石・「大王」・始皇帝・孔老図 | |||||
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 |
邢, 義田
× 邢, 義田× 楢山, 満照× Hsing, I-tien× Narayama, Mitsuteru |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | This article introduces the Quiet Studio in a Bamboo Grove (Matsuoka Museum of Art, Tokyo) and Girl Ling-chao (Jpn: Reishôjo zu, Museum of East Asian Art, Cologne). Both of these works bear an inscription by Chikuan Daien (1362–1439) dated to 1435 (Eikyô 7). The Chikuan inscription on the Matsuoka work includes a poem written for another painting, Studio of Lofty Rusticity (Jpn: Shûya-dô zu), while the Cologne work inscription is a quotation from a famous dictionary. Thus we can surmise that Chikuan, though renowned for his scholarship and literary talent, was not in the physical health necessary to carefully respond to each demand from his circle. In other words, there may have been a succession of people seeking out the old and frail Chikuan for just one last written memento before he left Kyoto, possibly to never return. Girl Ling-chao is unsigned but, stylistically, it is thought to be the work of a pupil of Minchô (1352–1431), a monk painter of Tôfuku-ji Temple in Kyoto. Chikuan was a Tôfuku-ji-lineage high-ranking priest who was at that time also living at the temple, and thus we can see how it was the Tôfuku-ji milieu that gave birth to this work. The other piece, Quiet Studio in a Bamboo Grove, is similarly unsigned. And yet, the Chikuan’s inscription at the top of the scroll includes the phrase “kedashi Shûbun hissuru tokoro.” Taken literally, this inscription can only be interpreted as “probably having been painted by Shûbun.” Given the circumstances, it would seem that Chikuan mentioned the artist’s name on the basis of the fact that he was relatively certain of the validity of his information. Stylistically speaking, there is nothing in the work that would deny the attribution. And given that the source imagery for this work is shared with that of Josetsu’s Catching a Catfish with a Gourd (Taizo-in, Kyoto), it is quite likely that this work is indeed by Shûbun’s hand. While the study of art history is a discipline that in the end seeks to determine authorship via the painting style itself, in fact, there are not many paintings whose attribution can be determined solely on the basis of style. The characteristics of the period, the characteristics of the painter, the aid of textual and circumstantial evidence—standard authentication procedure sees a combination of all of these elements at work. In this instance, the combined elements can be thought to suggest the considerable likelihood that this painting is by Shûbun. What tips that likelihood into the probable status cannot be seen by the art historian, almost unconsciously trapped within the evaluation frameworks of “art” or “suiboku-ga” (ink painting), or the picture-scroll-with-poetry-calligraphy genre known in Japanese as shi-ga-jiku. Stated another way, it might be too difficult to become aware of the limitations of the modern scholarly discourse paradigm and put aside judgments that focus solely on the facts. And yet, today, as the search for masterpieces has quieted a bit, such awareness is essential. Of course, during the Muromachi period there was considerable variation in the quality of Chinese works that became the models for Japanese painters, and it was not only high-quality Chinese paintings that were available in Japan. Further it was not unusual for painters to employ various painting styles. It was also normal for a painter’s style to change as they became more experienced. Thus, it would be useful if this painting is understood as an example that shows one aspect of Shûbun around the spring of 1435. Even so, isn’t it epoch-making that a specific benchmark work for understanding Shûbun has been discerned? Of further special note, this work provides a specific indication of the relationship between Shûbun and Josetsu and it can be considered an extremely important breakthrough in the study of Shûbun’s styles that has previously advanced exclusively in terms of his Xia Gui style. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 407, p. 1-33, 発行日 2012-09-14 |