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His studio name was 養竹軒. He was born in 1698 at Shan-tang, Wu-hsien, Kiangsu Province. It is known from visa records and dated inscriptions on his works that he first came to Japan on February 11, 1720, and that he frequented Japan afterward in 1727, 1730, 1733, 1742, 1745 and 1747. Landscape pictures of his NI Tsan-like uncluttered type seem to have been liked in Japan, although he executed dense landscape compositions like those done by HUANG Kung-wang as well. More of the former type remain in Japan. The type is exemplified by “Landscape with Vacant Arbour and Fishing Man” reproduced in Pl. VIII. Nothing is known about his association with Japanese except for his connection with Heishū HOSOI, but he was a strong influence on Taiga IKENO in his early days, and also on Kaiseki NORO and Tenju KAN. Tenju KAN edited his copies of works by I Fu-chiu and Taiga IKENO and the compilation was published as a two-volume book, I Fukyū Ikeno Taiga Sansui-gafu (Landscape paintings of I Fu-chiu and Taiga Ikeno), after his death.In the present paper, passages in letters from Ransho UCHIDA, a Nagoya businessman, to Baigai TOTOKI, a painter, concerning the work of I Fu-chiu are introduced and the recorded I Fu-chiu works are listed.\n LI Yung-yün\u0027s ink bamboos were as highly evaluated as I Fu-chiu\u0027s landscapes. But his biography is almost unknown. His reed-and-geese painting with dated inscription of 1725 is referred to in the draft manuscript of Nagasaki Gashi Iden (Biographical Materials Concerning the Painting History of Nagasaki) by Mr. Jūjirō KOGA, and thus we can recognize that he was in Japan in that year. Besides the above mentioned, eight works by him are recorded, and three pieces including “Bamboos” in ink, reproduced in Pl. IX, remain, but all of the eleven lack a date. There is no material which indicates that he came to Japan except for 1725. His ink bamboo paintings, the piece of Pl. IX and copies reproduced in figs. 5 and 6, show an uncluttered style and a sort of “Japanese-like” taste, a taste which is seen also in landscapes by FEI Hanyüan 費漢源. It is hard to imagine that those Chinese painters who must have been conscious of the more advanced culture of China imitated a Japanese taste. Therefore there must have been such a heretofore unknown minor style in Ming and Ch‘ing Chinese painting. 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伊孚九と李用雲―来舶画人研究―
https://tobunken.repo.nii.ac.jp/records/6489
https://tobunken.repo.nii.ac.jp/records/64898530fbd5-e7a1-47df-87ef-08e1286f10d5
名前 / ファイル | ライセンス | アクション |
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315_16_Tsuruta_Redacted.pdf (16.3 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 | 伊孚九と李用雲―来舶画人研究― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | I Fu-chiu and Li Yung-yun: Study of Chinese Painters Who Came to Japan in Edo Period | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 伊孚九筆閑亭垂釣図(大分 野内四郎七氏蔵)・李用雲筆墨竹図(大阪 橋本末吉氏蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “Landscape with Vacant Arbour and Fishing Man” by I Fu-chiu, Owned by Mr. Shiroshichi Noguchi, Oita / “Bamboos” by Li Yuang-yun, Owned by Mr. Sueyoshi Hashimoto, Osaka | |||||
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 |
鶴田, 武良
× 鶴田, 武良× Tsuruta, Takeyoshi |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | According to essays on painting by Edo Period Japanese painters like Kaiji Higen by Gyokushū KUWAYAMA and Sanchūjin Jōzetsu by Chikuden TANOMURA, the most favourite with the Japanese among paintings by Chinese painters who came to Japan around that time were landscapes by I Fu-chiu 伊孚九 and ink bamboos by LI Yung-yün 李用雲. I Fu-chiu's original personal name was 海 and also he used pseudonyms 莘野,匯川,也堂, and 雲水伊人. His studio name was 養竹軒. He was born in 1698 at Shan-tang, Wu-hsien, Kiangsu Province. It is known from visa records and dated inscriptions on his works that he first came to Japan on February 11, 1720, and that he frequented Japan afterward in 1727, 1730, 1733, 1742, 1745 and 1747. Landscape pictures of his NI Tsan-like uncluttered type seem to have been liked in Japan, although he executed dense landscape compositions like those done by HUANG Kung-wang as well. More of the former type remain in Japan. The type is exemplified by “Landscape with Vacant Arbour and Fishing Man” reproduced in Pl. VIII. Nothing is known about his association with Japanese except for his connection with Heishū HOSOI, but he was a strong influence on Taiga IKENO in his early days, and also on Kaiseki NORO and Tenju KAN. Tenju KAN edited his copies of works by I Fu-chiu and Taiga IKENO and the compilation was published as a two-volume book, I Fukyū Ikeno Taiga Sansui-gafu (Landscape paintings of I Fu-chiu and Taiga Ikeno), after his death.In the present paper, passages in letters from Ransho UCHIDA, a Nagoya businessman, to Baigai TOTOKI, a painter, concerning the work of I Fu-chiu are introduced and the recorded I Fu-chiu works are listed. LI Yung-yün's ink bamboos were as highly evaluated as I Fu-chiu's landscapes. But his biography is almost unknown. His reed-and-geese painting with dated inscription of 1725 is referred to in the draft manuscript of Nagasaki Gashi Iden (Biographical Materials Concerning the Painting History of Nagasaki) by Mr. Jūjirō KOGA, and thus we can recognize that he was in Japan in that year. Besides the above mentioned, eight works by him are recorded, and three pieces including “Bamboos” in ink, reproduced in Pl. IX, remain, but all of the eleven lack a date. There is no material which indicates that he came to Japan except for 1725. His ink bamboo paintings, the piece of Pl. IX and copies reproduced in figs. 5 and 6, show an uncluttered style and a sort of “Japanese-like” taste, a taste which is seen also in landscapes by FEI Hanyüan 費漢源. It is hard to imagine that those Chinese painters who must have been conscious of the more advanced culture of China imitated a Japanese taste. Therefore there must have been such a heretofore unknown minor style in Ming and Ch‘ing Chinese painting. Perhaps it is necessary to take the influence of such painting styles into consideration when we study the formation and development of nanga type painting in Japan. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 315, p. 16-27, 発行日 1980-12-20 |