WEKO3
アイテム
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Depicted on the screens is a great festival held in 1604 at Toyokuni Shrine in Kyoto in celebration of the seventh anniversary of Hideyoshi TOYOTOMI\u0027s death.\n The author discusses two problems regarding the figural representation of this work: (1) Although the facial expressions and the poses of the figures are stylized in an extremely exaggerated manner known as Matabei-like mode, there is also a touch of actuality in the representation of the figures\u0027 emotional excitement. How should we interpret the co-existance of two such contradictory aspects of drawing-the actuality and the stylization-within one work? (2) The right screen of the pair depicts a cavalcade, based upon a composition taken from the “Battle at Rokuhara” scene in the “Heiji Monogatari Picture Scrolls”. The original scroll including this scene is believed to have been lost, but a copy is preserved\nat the Tokyo National Museum, as Mr. Nobuo TSUJI has already indicated (Kokka, No. 924, 1970). How should we interpret the transposition of a classical composition into genre painting? This second problem will be discussed in Part II of this article.\n The author believes that these two problems are connected with important aspects characterizing socalled genre painting of the Kan\u0027ei Era(1624-1644) Let us examine the first problem in this light. Two particularly notable aspects of the figure representations in these screens are, on the one hand, the detailed rendering of the figures, including a variety of facial types, a minute depiction of the fingers and the patterns on the clothes they wear; and, on the other hand, the use of stylized “Matabei-like” “cliche” for innumerable people.\n These two features are also observed in “Yuna”, a hanging scroll at MOA Museum, and “Hikone Byōbu”, a six-fold screen, owned by Ii family. Here similarly, each hair of the figures is carefully drawn, their fingers are animated, and the costumes they wear are minutely rendered in pursuit of actuality. The detailed depictions are similar to those found in many of Oriental portraiture. In a portrait, such detailed descriptions help to convey the personality of the subject. But the figures in these genre paintings have been drawn with uncharacteristic faces which bear no personality.\n Why these two features are integrated into one artistic style might be explained as follows. In the genre paintings it is not intended to depict the figures as they actually look, but rather to depict them as idealized figures. But the artist did not wish this idealization to be apart from the reality of this world. Thus, the artist gave the figures a detailed finishing to lend them a sense of actuality. Therefore, although the figures in this kind of genre paintings are stylized, they also have a decadant and yet definitely lively appearance.\n In the writer\u0027s opinion, the integration of these two aspects is one of the important characteristics of genre painting in the Kan\u0027ei Era. The attitudes of these painters, involving the preoccupation in both stylization and representation of actuality, differs from the attitudes of genre painters during the high Momoyama period. “Sights in and around Kyoto”\n(a pair of six-fold screens at Uesugi Shrine) by Eitoku KANŌ conveys a sense of actuality which brings us the atmosphere of the very life of the people, an objective representation of intimate views of the real world.\n Genre paintings of the Kan\u0027ei Era do not represent the real world as it is, but rather as it ought to be, or as it is desired to be. This tendency is related to social circumstances of the time during which the Edo class system was established and the production of genre paintings describing the “two bad quarters” of the Edo, namely, the gay quarters and the theatres, increased.\n To return to the “Hōkoku Festival” screens, there are two subjects represented here. One, the overt subject, is the festival which provides a reminder of the power of the Toyotomi clan. The other is the theatrical world intended to represent a world in desire. The appearances and gestures of the audience, mostly made up of young men and women, in the galleries which seem themselves to be too well-constructed for temporary structure, have the same significance as the scenes in the playhouses on the Kamo River bank near Shijō in Kyoto. (to be continued)", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "鈴木, 廣之"}], "nameIdentifiers": [{"nameIdentifier": "26954", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Suzuki, Hiroyuki", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "26955", "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": "2017-10-04"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "319_12_Suzuki_Redacted.pdf", "filesize": [{"value": "14.6 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 14600000.0, "url": {"label": "319_12_Suzuki_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6504/files/319_12_Suzuki_Redacted.pdf"}, "version_id": "62efa697-8df0-4716-8297-34bf40daf65b"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "伝岩佐又兵衛筆豊国祭礼図屏風(東京 徳川黎明会蔵)初期風俗画・初期障屏画", "subitem_subject_scheme": "Other"}, {"subitem_subject": "“Hokoku Festival” Attributed to Matabei Iwasa, Owned by Tokugawa Reikmeikai, Tokyo", "subitem_subject_language": "en", "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": "伝又兵衛筆豊国祭礼図―風俗画における主題と変奏 上", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "伝又兵衛筆豊国祭礼図―風俗画における主題と変奏 上"}, {"subitem_title": "“Hokoku Festival” Attributed to Matabei Iwasa: Variations of Themes in Genre Painting (Part I)", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1071"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6504", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6504", "relation": {}, "relation_version_is_last": true, "title": ["伝又兵衛筆豊国祭礼図―風俗画における主題と変奏 上"], "weko_shared_id": 3}
伝又兵衛筆豊国祭礼図―風俗画における主題と変奏 上
https://tobunken.repo.nii.ac.jp/records/6504
https://tobunken.repo.nii.ac.jp/records/650490d7b449-6f81-4476-9c10-e9d490e56cf9
名前 / ファイル | ライセンス | アクション |
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319_12_Suzuki_Redacted.pdf (14.6 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 | 伝又兵衛筆豊国祭礼図―風俗画における主題と変奏 上 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | “Hokoku Festival” Attributed to Matabei Iwasa: Variations of Themes in Genre Painting (Part I) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 伝岩佐又兵衛筆豊国祭礼図屏風(東京 徳川黎明会蔵)初期風俗画・初期障屏画 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “Hokoku Festival” Attributed to Matabei Iwasa, Owned by Tokugawa Reikmeikai, Tokyo | |||||
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 |
鈴木, 廣之
× 鈴木, 廣之× Suzuki, Hiroyuki |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The “Hōkoku Festival”, a pair of six-fold screens attributed to Matabei IWASA (1578–1650) is known for its unique style among early post-mediaeval genre painting. Depicted on the screens is a great festival held in 1604 at Toyokuni Shrine in Kyoto in celebration of the seventh anniversary of Hideyoshi TOYOTOMI's death. The author discusses two problems regarding the figural representation of this work: (1) Although the facial expressions and the poses of the figures are stylized in an extremely exaggerated manner known as Matabei-like mode, there is also a touch of actuality in the representation of the figures' emotional excitement. How should we interpret the co-existance of two such contradictory aspects of drawing-the actuality and the stylization-within one work? (2) The right screen of the pair depicts a cavalcade, based upon a composition taken from the “Battle at Rokuhara” scene in the “Heiji Monogatari Picture Scrolls”. The original scroll including this scene is believed to have been lost, but a copy is preserved at the Tokyo National Museum, as Mr. Nobuo TSUJI has already indicated (Kokka, No. 924, 1970). How should we interpret the transposition of a classical composition into genre painting? This second problem will be discussed in Part II of this article. The author believes that these two problems are connected with important aspects characterizing socalled genre painting of the Kan'ei Era(1624-1644) Let us examine the first problem in this light. Two particularly notable aspects of the figure representations in these screens are, on the one hand, the detailed rendering of the figures, including a variety of facial types, a minute depiction of the fingers and the patterns on the clothes they wear; and, on the other hand, the use of stylized “Matabei-like” “cliche” for innumerable people. These two features are also observed in “Yuna”, a hanging scroll at MOA Museum, and “Hikone Byōbu”, a six-fold screen, owned by Ii family. Here similarly, each hair of the figures is carefully drawn, their fingers are animated, and the costumes they wear are minutely rendered in pursuit of actuality. The detailed depictions are similar to those found in many of Oriental portraiture. In a portrait, such detailed descriptions help to convey the personality of the subject. But the figures in these genre paintings have been drawn with uncharacteristic faces which bear no personality. Why these two features are integrated into one artistic style might be explained as follows. In the genre paintings it is not intended to depict the figures as they actually look, but rather to depict them as idealized figures. But the artist did not wish this idealization to be apart from the reality of this world. Thus, the artist gave the figures a detailed finishing to lend them a sense of actuality. Therefore, although the figures in this kind of genre paintings are stylized, they also have a decadant and yet definitely lively appearance. In the writer's opinion, the integration of these two aspects is one of the important characteristics of genre painting in the Kan'ei Era. The attitudes of these painters, involving the preoccupation in both stylization and representation of actuality, differs from the attitudes of genre painters during the high Momoyama period. “Sights in and around Kyoto” (a pair of six-fold screens at Uesugi Shrine) by Eitoku KANŌ conveys a sense of actuality which brings us the atmosphere of the very life of the people, an objective representation of intimate views of the real world. Genre paintings of the Kan'ei Era do not represent the real world as it is, but rather as it ought to be, or as it is desired to be. This tendency is related to social circumstances of the time during which the Edo class system was established and the production of genre paintings describing the “two bad quarters” of the Edo, namely, the gay quarters and the theatres, increased. To return to the “Hōkoku Festival” screens, there are two subjects represented here. One, the overt subject, is the festival which provides a reminder of the power of the Toyotomi clan. The other is the theatrical world intended to represent a world in desire. The appearances and gestures of the audience, mostly made up of young men and women, in the galleries which seem themselves to be too well-constructed for temporary structure, have the same significance as the scenes in the playhouses on the Kamo River bank near Shijō in Kyoto. (to be continued) |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 319, p. 12-22, 発行日 1982-03-31 |