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Two of these are monochrome picture scrolls, in the collections of the Museum of Fine Arts, Boston and the Freer Gallery of Art, Washington, D. C.; and two are colored picture scrolls, in the collections of National Museum of Japanese History, Chiba Prefecture, and National Institute of Japanese Literacture, Tokyo. All four versions belong to a category of handscroll painting known as koe (lit. “small pictures”), because they are under 20 centimeters in height. In an earlier article, I have discussed the monochrome paintings at some length, and briefly mentioned the National Institute collection handscoll (See “Utatane zōshi in the collection of the Museum of Fine Arts, Boston,” in Shinshū Nihon emaki zenshū, vol. 2 [Tokyo: Kadokawa Shoten, 1981]). The topic of this article is the fourth scroll, that in the National Museum of Japanese History. Formerly in the collection of the family of Prince Takamatsu, this work is the finest of the extant Utatane zōshi paintings.\n In a colophon at the end of the scroll, Jōshō (Tosa Mitsuoki, 1617-1691) attributes the NMJH Utatane zōsi to Tosa Mitsunobu (fl. c. 1469-c. 1521). Underlying this attribution are several close similarities between this scroll and a group of paintings traditionally associated with Mitsunobu, most notably in the brushwork and coloring of faces, trees, and rocks. I believe that these formal similarities justify considering the NMJH Utatane zōshi as a product of Mitsunobu\u0027s milieu, for the present. However, it must be noted that while the highlights of each scene in this scroll are painted in the \ntsukuri-e technique (in which opaque mineral pigments are thickly applied), this technique is not readily found in other Mitsunobu paintings, so a direct comparison is difficult.\n Yet in the NMJH Utatane zōshi, it is hard to believe that the tsukuri-e sections (the dramatic highlights) and the accompanying backgroundswhich are exeuted in translucent pigments-were painted by a different hand ; indeed, the two techniques are so effectively fused in each scene that one is scarcely conscious of any difference. Why was the archaic tsukuri-e technique, along with its characteristic hikime kagihana (“line-for-an-eye, hook-for-a-nose”; a stylized type of facial depiction) used here? Clearly, because it was considered the most appropriate expressive mode to evoke the romance of the tale, with its aristocratic protagonists and fantasy woven around dreams and love. For an old-fashioned theme, an old-fashioned style —that of Heian period narrative painting—was chosen.\n Judging from extant paintings and written records, Mitsunobu\u0027s works covered a wide repertory, including portraiture, Buddhist painting, nar rative handscrolls of the legends associated with shrines and temples, and fan paintings. Extant paintings are manifest evidence that he commanded a range of painting styles appropriate to this range of genres. Rather than simply regarding his range of styles as evidence of diachronic change, we must explore the possibility that it was a synchronic response to the wide scope of themes and formats that invariably would have been demanded of him as chief painter in the Tosa family atelier, and in his official capacity as Head of the Court Painting Bureau (edokoro azukari). Based on these considerations, this article aims to present the NMJH Utatane zōshi as material will serve in a reassessment of the parameters of Mitsunobu\u0027s oeuvre.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "米倉, 迪夫"}], "nameIdentifiers": [{"nameIdentifier": "26576", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Yonekura, Michio", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "26577", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2017-10-05"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "352_34_Yonekura_Redacted.pdf", "filesize": [{"value": "4.7 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 4700000.0, "url": {"label": "352_34_Yonekura_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6320/files/352_34_Yonekura_Redacted.pdf"}, "version_id": "c33eabd2-ef36-44ea-9b62-d41a671dd352"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "土佐光信・絵巻", "subitem_subject_scheme": "Other"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "journal article", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "図版解説 国立歴史民俗博物館蔵『うたたね草紙』", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "図版解説 国立歴史民俗博物館蔵『うたたね草紙』"}, {"subitem_title": "Explanation of the Plates: Utatane-zoshi Kept by National Museum of Japanese History", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1022"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6320", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6320", "relation": {}, "relation_version_is_last": true, "title": ["図版解説 国立歴史民俗博物館蔵『うたたね草紙』"], "weko_shared_id": 3}
図版解説 国立歴史民俗博物館蔵『うたたね草紙』
https://tobunken.repo.nii.ac.jp/records/6320
https://tobunken.repo.nii.ac.jp/records/632047f209f2-a0d0-44b5-9cfe-f8dc992af16a
名前 / ファイル | ライセンス | アクション |
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352_34_Yonekura_Redacted.pdf (4.7 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 | 図版解説 国立歴史民俗博物館蔵『うたたね草紙』 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Explanation of the Plates: Utatane-zoshi Kept by National Museum of Japanese History | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 土佐光信・絵巻 | |||||
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 |
米倉, 迪夫
× 米倉, 迪夫× Yonekura, Michio |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Utatane zōshi is a medieval short story about a man and a woman who were able to meet in only their dreams until joyfully united through the miraculous intervention of the Kannon (Avalokiteśvara) of Ishiyama Temple (in Shiga Prefecture). At present there are four illustrated versions of Utatane zōshi known to be extant. Two of these are monochrome picture scrolls, in the collections of the Museum of Fine Arts, Boston and the Freer Gallery of Art, Washington, D. C.; and two are colored picture scrolls, in the collections of National Museum of Japanese History, Chiba Prefecture, and National Institute of Japanese Literacture, Tokyo. All four versions belong to a category of handscroll painting known as koe (lit. “small pictures”), because they are under 20 centimeters in height. In an earlier article, I have discussed the monochrome paintings at some length, and briefly mentioned the National Institute collection handscoll (See “Utatane zōshi in the collection of the Museum of Fine Arts, Boston,” in Shinshū Nihon emaki zenshū, vol. 2 [Tokyo: Kadokawa Shoten, 1981]). The topic of this article is the fourth scroll, that in the National Museum of Japanese History. Formerly in the collection of the family of Prince Takamatsu, this work is the finest of the extant Utatane zōshi paintings. In a colophon at the end of the scroll, Jōshō (Tosa Mitsuoki, 1617-1691) attributes the NMJH Utatane zōsi to Tosa Mitsunobu (fl. c. 1469-c. 1521). Underlying this attribution are several close similarities between this scroll and a group of paintings traditionally associated with Mitsunobu, most notably in the brushwork and coloring of faces, trees, and rocks. I believe that these formal similarities justify considering the NMJH Utatane zōshi as a product of Mitsunobu's milieu, for the present. However, it must be noted that while the highlights of each scene in this scroll are painted in the tsukuri-e technique (in which opaque mineral pigments are thickly applied), this technique is not readily found in other Mitsunobu paintings, so a direct comparison is difficult. Yet in the NMJH Utatane zōshi, it is hard to believe that the tsukuri-e sections (the dramatic highlights) and the accompanying backgroundswhich are exeuted in translucent pigments-were painted by a different hand ; indeed, the two techniques are so effectively fused in each scene that one is scarcely conscious of any difference. Why was the archaic tsukuri-e technique, along with its characteristic hikime kagihana (“line-for-an-eye, hook-for-a-nose”; a stylized type of facial depiction) used here? Clearly, because it was considered the most appropriate expressive mode to evoke the romance of the tale, with its aristocratic protagonists and fantasy woven around dreams and love. For an old-fashioned theme, an old-fashioned style —that of Heian period narrative painting—was chosen. Judging from extant paintings and written records, Mitsunobu's works covered a wide repertory, including portraiture, Buddhist painting, nar rative handscrolls of the legends associated with shrines and temples, and fan paintings. Extant paintings are manifest evidence that he commanded a range of painting styles appropriate to this range of genres. Rather than simply regarding his range of styles as evidence of diachronic change, we must explore the possibility that it was a synchronic response to the wide scope of themes and formats that invariably would have been demanded of him as chief painter in the Tosa family atelier, and in his official capacity as Head of the Court Painting Bureau (edokoro azukari). Based on these considerations, this article aims to present the NMJH Utatane zōshi as material will serve in a reassessment of the parameters of Mitsunobu's oeuvre. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 352, p. 34-38, 発行日 1992-02-29 |