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D. 1140), of a Sung copy of the scroll “Ladies of the Court” by Chou Wên-chü, in the collection of the University Museum, Pennsylvania University, Philadelphia, U.S.A., and another fragment, which the author had not inspected, in the collection of Mr. Berenson, Florence, Italy; and in No. 56 (August 1936), a third fragment in the collection of Sir Percival David, London. During his recent trip to Europe and America in 1951-\u002752 the author had an opportunity to see another fragment recently aquired by the Fogg Art Museum, Harvard University as well as to see the fragment in the Berenson Collection. He takes this opportunity to report about these two fragments, and to add to and correct his previous articles.\n The new fragment in the Fogg Museum, as illustrated in Plates II-V, shows twenty-three ladies and children in all. It is evident that this fragment originally belonged to the one and same scroll with the other ones, for they are entirely similar in all of the dimensions, the state of silk base considerably worn out, the not fine state of preservation, the neat drawn lines, the tone of the gray on the hair and benches, and the manner of red colouring on the cheeks and lips. Some scholars are sceptical about the genuineness of the new fragment on the ground that the drawing lines on this piece are minutely wavy as if drawn by a trembling hand, and that the human figures show queer distortions. These, however, were caused by the distortion of the silk base at the time of the crude re-mounting. The new fragment admits no doubt about its authenticuty.\n The discovery of the Fogg Museum fragment has enabled us to restore the complete shape of the scroll, which had been broken up into four separate sections presumably late in the Ch\u0027ing Dynasty. The first section is the piece in Italy depicting sixteen figures, which has seal-marks of ownership at the beginning. The second is the piece in Philadelphia, showing twenty-two figures. The third is the newly discovered piece in the Fogg Museum. Tne fourth is the piece in London, with nineteen figures. It is evident that this fourth fragment is the last portion of the paintings in the scroll, for it has portions of seal-marks at its left-side end while the remainders of the same seal-marks are found on the right-side end of the inscription forming the last end of the scroll. The inscription reads, in portion : “Women and children totalling eighty in number. There is a man painting a portrait.” This number “eighty” is a generalization. In fact the figures in the present fragments are eighty in total including two men.\n The colour reproduction (Plate I) was made at the occasion of re-mounting the Berenson Collection piece in Tokyo. The picture now presents an antiquated brownish yellow colour, and the drawn lines appear faint and spiritless. When closely examined, however, the lines are elastic and invigorated as if done by the swing of a sharp sword. They are fine but extremely animated, in the style of “lute-string” drawing of the T\u0027ang art seasoned with the brushwork of calligraphy developed since the Sung Dynasty. It seems that when a master artist of the Sung Dynasty copied a T\u0027ang painting the result was such combination of the best of T\u0027ang and Sung drawings, for the author noticed a similar dignified style of lines in the scroll entitled “ Tao-lien ” in the Boston Museum collection, a copy of Chang Hsüan\u0027s painting by the Emperor Hui Tsung. The beauty of drawn lines is displayed more distinctly in the “ Ladies of the Court” scroll which is in black-and-white drawing. We are impressed with the supreme brush strokes, the graceful effect produced by adding slight colouring to the black monochrome drawing, and the delicate depiction of the beauty of ladies. 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再説宋模周文矩宮中図
https://tobunken.repo.nii.ac.jp/records/7012
https://tobunken.repo.nii.ac.jp/records/70127ec6e485-c8cc-49a1-998f-06839d51634f
名前 / ファイル | ライセンス | アクション |
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169_1_Yashiro_Redacted.pdf (5.1 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2016-12-27 | |||||
タイトル | ||||||
タイトル | 再説宋模周文矩宮中図 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Again on the Sung Copy of the Scroll "Ladies of the Court" by Chou Wen-chu | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 宋模周文矩宮中図(イタリー ベレンソン氏蔵)・宋模周文矩宮中図(米国 フォッグ美術館蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Again on the Sung Copy of the Scroll "Ladies of the Court" by Chou Wen-chu | |||||
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 |
矢代, 幸雄
× 矢代, 幸雄× Yashiro, Yukio |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The author introduced, in No. 25 of the present journal (January1934), a fragment and the last portion with the inscription by Chang Ch'êng (Tan-yên Chü-shih) dated the Year of Kêng-shen, Shao-hsing Era (A. D. 1140), of a Sung copy of the scroll “Ladies of the Court” by Chou Wên-chü, in the collection of the University Museum, Pennsylvania University, Philadelphia, U.S.A., and another fragment, which the author had not inspected, in the collection of Mr. Berenson, Florence, Italy; and in No. 56 (August 1936), a third fragment in the collection of Sir Percival David, London. During his recent trip to Europe and America in 1951-'52 the author had an opportunity to see another fragment recently aquired by the Fogg Art Museum, Harvard University as well as to see the fragment in the Berenson Collection. He takes this opportunity to report about these two fragments, and to add to and correct his previous articles. The new fragment in the Fogg Museum, as illustrated in Plates II-V, shows twenty-three ladies and children in all. It is evident that this fragment originally belonged to the one and same scroll with the other ones, for they are entirely similar in all of the dimensions, the state of silk base considerably worn out, the not fine state of preservation, the neat drawn lines, the tone of the gray on the hair and benches, and the manner of red colouring on the cheeks and lips. Some scholars are sceptical about the genuineness of the new fragment on the ground that the drawing lines on this piece are minutely wavy as if drawn by a trembling hand, and that the human figures show queer distortions. These, however, were caused by the distortion of the silk base at the time of the crude re-mounting. The new fragment admits no doubt about its authenticuty. The discovery of the Fogg Museum fragment has enabled us to restore the complete shape of the scroll, which had been broken up into four separate sections presumably late in the Ch'ing Dynasty. The first section is the piece in Italy depicting sixteen figures, which has seal-marks of ownership at the beginning. The second is the piece in Philadelphia, showing twenty-two figures. The third is the newly discovered piece in the Fogg Museum. Tne fourth is the piece in London, with nineteen figures. It is evident that this fourth fragment is the last portion of the paintings in the scroll, for it has portions of seal-marks at its left-side end while the remainders of the same seal-marks are found on the right-side end of the inscription forming the last end of the scroll. The inscription reads, in portion : “Women and children totalling eighty in number. There is a man painting a portrait.” This number “eighty” is a generalization. In fact the figures in the present fragments are eighty in total including two men. The colour reproduction (Plate I) was made at the occasion of re-mounting the Berenson Collection piece in Tokyo. The picture now presents an antiquated brownish yellow colour, and the drawn lines appear faint and spiritless. When closely examined, however, the lines are elastic and invigorated as if done by the swing of a sharp sword. They are fine but extremely animated, in the style of “lute-string” drawing of the T'ang art seasoned with the brushwork of calligraphy developed since the Sung Dynasty. It seems that when a master artist of the Sung Dynasty copied a T'ang painting the result was such combination of the best of T'ang and Sung drawings, for the author noticed a similar dignified style of lines in the scroll entitled “ Tao-lien ” in the Boston Museum collection, a copy of Chang Hsüan's painting by the Emperor Hui Tsung. The beauty of drawn lines is displayed more distinctly in the “ Ladies of the Court” scroll which is in black-and-white drawing. We are impressed with the supreme brush strokes, the graceful effect produced by adding slight colouring to the black monochrome drawing, and the delicate depiction of the beauty of ladies. It certainly attests to the high artistic level of Chinese painting in the Sung Dynasty that an artist of such masterly skill should have worked as a mere anonymous person engaged in copying old masterpieces. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 169, p. 1-6, 発行日 1953-03-30 |