WEKO3
アイテム
尾形乾山 書・画作品と関係文書
https://doi.org/10.34577/00004445
https://doi.org/10.34577/000044456448c3d8-230a-44e9-9674-1c0906241454
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
尾形乾山 書・画作品と関係文書 (30.6 MB)
|
.png)
|
| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2019-03-20 | |||||
| タイトル | ||||||
| タイトル | 尾形乾山 書・画作品と関係文書 | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | Calligraphy and Painting in the Art of Ogata Kenzan, and Related Documents | |||||
| 言語 | en | |||||
| 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 | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.34577/00004445 | |||||
| ID登録タイプ | JaLC | |||||
| アクセス権 | ||||||
| アクセス権 | open access | |||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||
| 著者 |
ウィルソン, リチャード L.
× ウィルソン, リチャード L.× 小笠原, 佐江子 |
|||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Calligraphy and Painting in the Art of Ogata Kenzan, and Related Documents As the Japanese term shoga suggests, calligraphy a nd painting were seen as allied arts until Meiji-era internationalization forced their separation. It is not uncommon to see inscriptions, chiefly poetic ones, on all kinds of premodern painting. In the first half of the Edo period inscriptions on paintings were carefully planned, and in any single painting the two arts were compartmentalized in the sense that the writers and painters were usually different, the writing and painting were carried out in separate stages, and the writing and painting occupied discrete spaces on the picture surface. In the mid-18th century, however, under the influence of Chinese literati aesthetics, this distance was breached by Nanga and other painters, bringing a great deal of spontaneity into the pictorial arts. The art of Ogata Kenzan (1663-1743) occupies an interstitial place in this trend. In order to fully characterize Kenzan’s shoga and its multifold background, this article will survey writings, inscribed paintings, seals and ciphers, and related documents (specifically the Konishi archive of Ogata family documents). Calligraphy: Ogata Kenzan developed his calligraphic skills as a pastime, but they became integral to his success as a ceramic designer. Eschewing the manner of Hon’ami Koetsu (1558-1637), which was followed by his father and brothers, Kenzan pursued the Song style of Zhang Jizhi (1186-1286) and the indigenous style of Fujiwara Teika (1162-1241). Both of these modes were popular in the tea ceremony from the 16th century. However by the end of his first decade as a pottery designer, Kenzan demonstrated less interest in imitating classical calligraphy style and more concern about maintaining a lucid script appropriate to writing on ceramic surfaces. As attested to in a draft manuscript in the Konishi archive, Kenzan also planned inscriptions for his brother Korin’s (1658-1716) painting, but such works, if they indeed were made, do not survive. Then, at the end of his life, Kenzan’s writing and painting became intermingled and considerably less fettered, anticipating the literati mode—where the work is experienced as an act rather than as a thing. Painting: Despite the attestations of later Edo-period painting treatises, there is no convincing evidence that Kenzan ever studied painting under a teacher. Trained painters or artisan-decorators carried out most of the painting on his Kyoto ceramics. However, Kenzan encounted new expectations and opportunities upon his move to Edo in about 1731. There he was hailed as a “second-generation Korin”, encouraging him to essay a colorful Korinesque style of flowers-andgrasses subjects, notably his Hollyhocks (1742; coll. Cernuschi Museum). This new sense of entitlement is also manifested in efforts to transmit the Korin style to a follower, Tatebayashi Kagei (act. mid-18th c.). At the same time Kenzan seems to have been warmly received in Edo haikai salons, which inspired a more impromptu “painting on the spot” or sekiga, chiefly in monochrome. An example is Willow in Spring of 1739 (coll. Yamato Bunkakan). Further research is necessary |
|||||
| 言語 | en | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 画像多数、縦書き | |||||
| 言語 | ja | |||||
| 書誌情報 |
ja : 人文科学研究 : キリスト教と文化 号 50, p. (1)-(137), 発行日 2018-12-15 |
|||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 00733944 | |||||
