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Within this context the special characteristics of the Jukô-in wall paintings reveal the duality of a basis on the earlier examples of temple hall wall paintings and largeformat ink paintings as well as experiments towards the development of new painting styles.\n Considering these factors along with the facts regarding the establishment of Jukô-in, the Twenty-Four Paragons of Filial Piety screens (Fukuoka City Museum) are thought to have been created in Eiroku 9 (1566). If that was the date that Jukô-in was founded, its wall paintings would reveal a great distance from the Fukuoka screens in terms of their quality as wall paintings. If we then reconsider the production date of the wall paintings, the possibility arises that the date Tenshô 11 (1583), noted in black ink on the backboard of the entrance ceiling and discovered in the restoration of the main hall, may be one production date. That was the year that the first anniversary of the death of Oda Nobunaga in the Incident at Honno-ji was commemorated at Daitoku-ji. In the history of craft arts, the death of Nobunaga marked the end of medieval culture. 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聚光院方丈障壁画を語る文脈
https://tobunken.repo.nii.ac.jp/records/6195
https://tobunken.repo.nii.ac.jp/records/61959f355486-401a-42c6-8638-28c392ba5ac2
名前 / ファイル | ライセンス | アクション |
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396_1_Watanabe_Redacted.pdf (9.2 MB)
|
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 | 聚光院方丈障壁画を語る文脈 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Context of the Juko-in Main Hall Wall Panel Paintings | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 玄関部材天正十一年銘・狩野松栄・狩野永徳・大徳寺・狩野派行体・二十四孝行図・花鳥図・初期障屏画 | |||||
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 |
渡邊, 雄二
× 渡邊, 雄二× Watanabe, Yuji |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | A consideration of the production date of the wall panel paintings produced by Kano Eitoku and Shoei for the main hall of Jukô-in is not simply a consideration of the date of an historical event, it is also a reconsideration of the positioning of the Jukô-in paintings in the context of the paintings' character. First, within the development of wall panel paintings on buildings of Zen Buddhist temples, like the 15th century Shogunal palaces, ink painting techniques and subject matters from China were changed room to room, and there was a connection in terms of both motif and composition, as seen in the Daisen-in and Reiun-in paintings created by members of the Kanô school. While revolutionary and pioneering qualities were praised, these works also contain traditional and orthodox elements. Further, in the case of ink painting, particularly the gyôtai or semi-cursive style bird and flower subjects as seen in the bird and flower paintings in the central room at the Jukôin main hall, a connection can be found with the bird and flower paintings in the central room of the Reiun-in main hall by Kanô Motonobu, and a similar expression can also be discerned in the development of bird and flower screen paintings in the Motonobu style. While subtle, a clear progression can be seen in the tree, flower and bird motifs and their composition from the Motonobu style to the Eitoku style. However, in spite of partial similarities, there is considerable difference between such bird and flower screens and the Jukô-in wall paintings in terms of composition, particularly in terms of the three-dimensional expression of wall paintings within the architectural space, such as the central room. Such differences include the enlargement and concentration of motifs in the foreground and the strong three-dimensional composition created by the mutual connection of the east, west and north panels into a single picture plane. Within this context the special characteristics of the Jukô-in wall paintings reveal the duality of a basis on the earlier examples of temple hall wall paintings and largeformat ink paintings as well as experiments towards the development of new painting styles. Considering these factors along with the facts regarding the establishment of Jukô-in, the Twenty-Four Paragons of Filial Piety screens (Fukuoka City Museum) are thought to have been created in Eiroku 9 (1566). If that was the date that Jukô-in was founded, its wall paintings would reveal a great distance from the Fukuoka screens in terms of their quality as wall paintings. If we then reconsider the production date of the wall paintings, the possibility arises that the date Tenshô 11 (1583), noted in black ink on the backboard of the entrance ceiling and discovered in the restoration of the main hall, may be one production date. That was the year that the first anniversary of the death of Oda Nobunaga in the Incident at Honno-ji was commemorated at Daitoku-ji. In the history of craft arts, the death of Nobunaga marked the end of medieval culture. From the character of the main hall bird and flower paintings with their orthodox nature combined with a quickening towards a new era, then wouldn't it be appropriate to consider that the Jukô-in wall paintings were painted in just that year? |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 396, p. 1-24, 発行日 2008-11-05 |