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アイテム
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The author, who has been interested in and investigated this work since before the exhibition, presents his views in this paper.\n The scroll includes forty-six painted sheets of paper. Each sheet has a painting of one or more birds, some fully and some partially shown. The last sheet in which a turtledove is represent. ed, has an inscription in the lower left corner. The inscription reads “渡辺求馬始興筆 (Painted by Watanabe Kyūma Shikō).” A wood-block print reproduction of the same portion of the scroll is found in Ogata-ryū Hyakuzu (Hundred Paintings of Kōrin Style), Vol. II, a book edited by Kimei NAKANO in 1889. However, the inscription seen in the illustration is different from the one mentioned above. It has one more character at the end and reads “渡辺求馬始興筆意”. Perhaps the last character of the original inscription was obliterated after this illustration was made. The calligraphy style of the inscription is not identical with the ordinary style of Shikō\u0027s writing and the use of 筆意 does not appear in his ordinary signature. These facts lead the author to the view that the inscription must have been added by a connoisseur later. However, the author recognizes the short explanations accompanying the pictures in the scroll as being by the artist himself.\n As far as the dated explanations indicate, the work was painted over a long period of twentyfour years, from the artist\u0027s age of thirty-six to sixty, since the earliest of the dates is 1718 and the latest is 1742.\n Many kinds of birds are depicted in it so that we wonder if he was actually able to observe them. However, it is probable that he could have done so. People of the time were much more familiar with birds than they are today. They were pets, game birds and sometimes even used for medicines. In a literary work written a little later, it is recorded that there was a tea house known as Kujaku-jaya (Peacock House) in the\nGion area of Kyoto where many rare birds were raised for their appreciation. It is likely, of course, that some of the birds in the scroll must have been copied from stuffed birds.\n The stylistic characteristics of this work become clearer when it is compared with the “Album of Real Forms of Birds and Animals” by Kōrin OGATA, the teacher of Shikō. In Kōrin\u0027s work, such natural factors as the movement of the birds and the soft quality of their feathers are finely rendered. On the other hand, Shikō\u0027s work has a precision of mosaic-like rigidity. Shikō\u0027s manner foreshadows the direction of the development of sketch of natural life in Edo Period painting. The natural life sketches by Ōkyo MARUYAMA were in the line of this tendency.\n What then made Shiko recognize the importance of direct observation of natural life? The author points to three motives. The first is the influence from Tan-yū KANŌ who realized its importance and was the first to practice it. The second is the influence of Kōrin, as mentioned above. The third is the influence from the new current of the natural history-type approach to nature which had been rapidly accepted by intellectual people such as Iehiro KONOE. The author considers that the third influence was the most vital of all. The explanations in Shikō\u0027s scroll quote the name of an encyclopedia-like natural history book Honzō Kōmoku. This is a book based on the Chinese tradition of studies in natural history and formed the foundation of this kind of knowledge in Japan. Shikō was perhaps taught about this book by Iehiro and he might have seen a copy owned by Iehiro. Tehiro\u0027s scientific attitude is r in Kaiki, a book on Iehiro written by his doctor Doan YAMADA. Iehiro had numerous friends among natural historians and he himself possessed many related books. At the same time, he was interested in painting and naturally realized the significance of direct depiction of actual objects. According to Kaiki, Shikō was associated with Iehiro and, therefore, it is quite probable that he became convinced of such significance through his guidance.\n The problem of the relationship of the depiction of actual natural life and his work in general is left to further study. It is widely regarded that his work could be roughly classified into two types: the type with the Kōrin school influence such as the wall panels painted with “Flowers of Four Seasons” in the Daikakuji, and the type with the Kano school influence represented by the wall panels painted with “Flowers of Four Seasons” in the Kombuin. Shiko tried to combine traditional painting methods and precise depiction of nature and this experimentation succeeded to some extent. The work which most typically shows this intention is a pair of screens of “Small Birds and Plums” in a private collection. This work, for instance, is not very far from the work of Ōkyo as far as his attitude toward nature is concerned.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "河野, 元昭"}], "nameIdentifiers": [{"nameIdentifier": "27042", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Kono, Motoaki", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27043", "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": "290_1_Kouno_Redacted.pdf", "filesize": [{"value": "20.1 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 20100000.0, "url": {"label": "290_1_Kouno_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6547/files/290_1_Kouno_Redacted.pdf"}, "version_id": "9b75aabe-39e5-42ad-98e1-b55bd0dc13ea"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "渡辺始興筆真写鳥類図巻(東京 某氏蔵)尾形光琳", "subitem_subject_scheme": "Other"}, {"subitem_subject": "“Real Forms of Birds” by Shiko Watanabe, Private Collection, 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": "渡辺始興筆「真写鳥類図巻」について(上)", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "渡辺始興筆「真写鳥類図巻」について(上)"}, {"subitem_title": "The Scroll of “Real Forms of Birds” by Shiko Watanabe (Part I)", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1083"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6547", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6547", "relation": {}, "relation_version_is_last": true, "title": ["渡辺始興筆「真写鳥類図巻」について(上)"], "weko_shared_id": 3}
渡辺始興筆「真写鳥類図巻」について(上)
https://tobunken.repo.nii.ac.jp/records/6547
https://tobunken.repo.nii.ac.jp/records/654720771c47-ed0e-4647-975d-73106e86951a
名前 / ファイル | ライセンス | アクション |
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290_1_Kouno_Redacted.pdf (20.1 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 | 渡辺始興筆「真写鳥類図巻」について(上) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Scroll of “Real Forms of Birds” by Shiko Watanabe (Part I) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 渡辺始興筆真写鳥類図巻(東京 某氏蔵)尾形光琳 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “Real Forms of Birds” by Shiko Watanabe, Private Collection, 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 |
河野, 元昭
× 河野, 元昭× Kono, Motoaki |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The scroll of “Real Forms of Birds” by Shikō WATANABE, which belongs to a private collector in Tokyo, was exhibited in the “Rimpa (Sōtatsu-Kōrin School) ” show held at the Tokyo National Museum in 1972. The author, who has been interested in and investigated this work since before the exhibition, presents his views in this paper. The scroll includes forty-six painted sheets of paper. Each sheet has a painting of one or more birds, some fully and some partially shown. The last sheet in which a turtledove is represent. ed, has an inscription in the lower left corner. The inscription reads “渡辺求馬始興筆 (Painted by Watanabe Kyūma Shikō).” A wood-block print reproduction of the same portion of the scroll is found in Ogata-ryū Hyakuzu (Hundred Paintings of Kōrin Style), Vol. II, a book edited by Kimei NAKANO in 1889. However, the inscription seen in the illustration is different from the one mentioned above. It has one more character at the end and reads “渡辺求馬始興筆意”. Perhaps the last character of the original inscription was obliterated after this illustration was made. The calligraphy style of the inscription is not identical with the ordinary style of Shikō's writing and the use of 筆意 does not appear in his ordinary signature. These facts lead the author to the view that the inscription must have been added by a connoisseur later. However, the author recognizes the short explanations accompanying the pictures in the scroll as being by the artist himself. As far as the dated explanations indicate, the work was painted over a long period of twentyfour years, from the artist's age of thirty-six to sixty, since the earliest of the dates is 1718 and the latest is 1742. Many kinds of birds are depicted in it so that we wonder if he was actually able to observe them. However, it is probable that he could have done so. People of the time were much more familiar with birds than they are today. They were pets, game birds and sometimes even used for medicines. In a literary work written a little later, it is recorded that there was a tea house known as Kujaku-jaya (Peacock House) in the Gion area of Kyoto where many rare birds were raised for their appreciation. It is likely, of course, that some of the birds in the scroll must have been copied from stuffed birds. The stylistic characteristics of this work become clearer when it is compared with the “Album of Real Forms of Birds and Animals” by Kōrin OGATA, the teacher of Shikō. In Kōrin's work, such natural factors as the movement of the birds and the soft quality of their feathers are finely rendered. On the other hand, Shikō's work has a precision of mosaic-like rigidity. Shikō's manner foreshadows the direction of the development of sketch of natural life in Edo Period painting. The natural life sketches by Ōkyo MARUYAMA were in the line of this tendency. What then made Shiko recognize the importance of direct observation of natural life? The author points to three motives. The first is the influence from Tan-yū KANŌ who realized its importance and was the first to practice it. The second is the influence of Kōrin, as mentioned above. The third is the influence from the new current of the natural history-type approach to nature which had been rapidly accepted by intellectual people such as Iehiro KONOE. The author considers that the third influence was the most vital of all. The explanations in Shikō's scroll quote the name of an encyclopedia-like natural history book Honzō Kōmoku. This is a book based on the Chinese tradition of studies in natural history and formed the foundation of this kind of knowledge in Japan. Shikō was perhaps taught about this book by Iehiro and he might have seen a copy owned by Iehiro. Tehiro's scientific attitude is r in Kaiki, a book on Iehiro written by his doctor Doan YAMADA. Iehiro had numerous friends among natural historians and he himself possessed many related books. At the same time, he was interested in painting and naturally realized the significance of direct depiction of actual objects. According to Kaiki, Shikō was associated with Iehiro and, therefore, it is quite probable that he became convinced of such significance through his guidance. The problem of the relationship of the depiction of actual natural life and his work in general is left to further study. It is widely regarded that his work could be roughly classified into two types: the type with the Kōrin school influence such as the wall panels painted with “Flowers of Four Seasons” in the Daikakuji, and the type with the Kano school influence represented by the wall panels painted with “Flowers of Four Seasons” in the Kombuin. Shiko tried to combine traditional painting methods and precise depiction of nature and this experimentation succeeded to some extent. The work which most typically shows this intention is a pair of screens of “Small Birds and Plums” in a private collection. This work, for instance, is not very far from the work of Ōkyo as far as his attitude toward nature is concerned. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 290, p. 1-18, 発行日 1974-03-11 |