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The early nanga painters could seldom have opportunities to see actual Chinese Southern-school paintings. It is said that they produced Chinese-like works by referring to books with painting reproductions and books on painting methods like Pa-chung-hua-p’u and Chiehtzŭ-yüan-hua-chuan which were published at the end of the Ming Dynasty and the beginning of the Ch\u0027ing Dynasty. But comparatively few concrete studies have been conducted as to what paintings were made after this kind of books. The present author attempts to carefully analyze the works by Taiga IKENO (1723-1776) from this point of view to shed new light on the artist\u0027s manner of performance.\n Taiga referred to the following books. His use of Pa-chung-hua-p\u0027u is known from literary sources and the number of the works based on this book is the greatest. As for Chieh-tzŭ-yüan-hua-chuan, many people have noticed that he learned such details as a variety of representations of trees, textural strokes, and the depictions of figures. Not only that, several cases can be pointed out where the whole compositions are borrowed from Vol. 5 of the first edition. Also, the influence of the colouring of the polychrome plates in this manual should not be overlooked. His utilization of Lieh-hsiench\u0027üan-chuan is seen in several examples from a specific phase of his twenties. Some Taiga works based on K\u0027u-shih-hua-p\u0027u can be pointed out, though the relationship between Taiga and this book has been neglected heretofore.\n The three books of Pa-chung-hua-p\u0027u, Chieh-tzŭyüan-hua-chuan and K\u0027u-shih-hua-p\u0027u were repeatedly used in his early twenties. On the other hand, there are a few paintings related to each of Sants\u0027ai-t\u0027u-hui, Kêng-chih-t\u0027u and Ming-shan-shêngkai-chi.\n He also had access to similar Japanese books. Works which seem to be based on Wakan Meishō Gazu, Ehon Tekagami and Honchō Gaen were found.\n Such utilization of the illustrated books by Taiga does not infer a scarcity of originality by Taiga. Now that we recognize many excellent Taiga works derived from mediocre compositions in illustrated books, the essence of his individuality and creativity should be understood in this kind of production mechanism. 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池大雅における画譜による制作
https://tobunken.repo.nii.ac.jp/records/6302
https://tobunken.repo.nii.ac.jp/records/6302bf158fd0-e18b-4b61-b985-2fa927cbe3be
名前 / ファイル | ライセンス | アクション |
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348_1_Takeda_Redacted.pdf (35.9 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 | 池大雅における画譜による制作 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Taiga Ikeno’s Utilization of Illustrated Books | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 池大雅筆大仏閣図・東福寺図(京都名勝六景の内・東京 個人蔵)・池大雅筆渓橋吟行図(東京 個人蔵)・池大雅筆春城車馬図(『画断』より転載)八種画譜・芥子園画伝・列仙全伝・顧氏画譜・歴代名公画譜・三才図会 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “Daibutsukaku” and “Tofukuji” (Two of “Six Scenic Spots in Kyoto”) by Taiga Ikeno, Private Collection / “Poem-lover Crossing a Valley Stream” by Taiga Ikeno, Private Collection / “Chariot and Horse against Spring Castle” by Taiga Ikeno, Quoted from the Gadan | |||||
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 |
武田, 光一
× 武田, 光一× Takeda, Koichi |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Japanese nanga emerged in the eighteenth century or the mid-Edo Period. The early nanga painters could seldom have opportunities to see actual Chinese Southern-school paintings. It is said that they produced Chinese-like works by referring to books with painting reproductions and books on painting methods like Pa-chung-hua-p’u and Chiehtzŭ-yüan-hua-chuan which were published at the end of the Ming Dynasty and the beginning of the Ch'ing Dynasty. But comparatively few concrete studies have been conducted as to what paintings were made after this kind of books. The present author attempts to carefully analyze the works by Taiga IKENO (1723-1776) from this point of view to shed new light on the artist's manner of performance. Taiga referred to the following books. His use of Pa-chung-hua-p'u is known from literary sources and the number of the works based on this book is the greatest. As for Chieh-tzŭ-yüan-hua-chuan, many people have noticed that he learned such details as a variety of representations of trees, textural strokes, and the depictions of figures. Not only that, several cases can be pointed out where the whole compositions are borrowed from Vol. 5 of the first edition. Also, the influence of the colouring of the polychrome plates in this manual should not be overlooked. His utilization of Lieh-hsiench'üan-chuan is seen in several examples from a specific phase of his twenties. Some Taiga works based on K'u-shih-hua-p'u can be pointed out, though the relationship between Taiga and this book has been neglected heretofore. The three books of Pa-chung-hua-p'u, Chieh-tzŭyüan-hua-chuan and K'u-shih-hua-p'u were repeatedly used in his early twenties. On the other hand, there are a few paintings related to each of Sants'ai-t'u-hui, Kêng-chih-t'u and Ming-shan-shêngkai-chi. He also had access to similar Japanese books. Works which seem to be based on Wakan Meishō Gazu, Ehon Tekagami and Honchō Gaen were found. Such utilization of the illustrated books by Taiga does not infer a scarcity of originality by Taiga. Now that we recognize many excellent Taiga works derived from mediocre compositions in illustrated books, the essence of his individuality and creativity should be understood in this kind of production mechanism. Those illustrated books were indispensable in that they often served as starting points of his aspiraiton. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 348, p. 1-22, 発行日 1990-08-30 |