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本資料由 李玉珉老師 提供
| 元画十八羅漢図について=An Yuan Painting of Eighteen Arhats | ||
| 作者 | 戶田禎佑 (著)=Toda, Teisuke (au.) |
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| 出處題名 | 美術研究=Bijutsu Kenkyu : the Journal of Art Studies=ビジュツ ケンキュウ |
| 卷期 | v.261 |
| 出版日期 | 1969.12.15 |
| 頁次 | 30 - 39 |
| 出版者 | 東京文化財研究所=National Research Institute for Cultural Properties, Tokyo |
| 出版者網址 | http://www.tobunken.go.jp/index_j.html |
| 出版地 | 東京, 日本 [Tokyo, Japan] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 日文=Japanese |
| 關鍵詞 | 羅漢; 十八羅漢; 曇芳守忠賛十八羅漢図（東京 某氏蔵）元代道釈人物画 |
| 摘要 | This is a paper painting of Eighteen Arhats done in drawing method. Its inscription by a Yüan Dynasty Ch'an monk, T'an-fang Shou-chung (1275–1348), tells us that the date of production is the eighth year of Chih-chên Era or 1349. This painting was brought to Japan in early time and recorded in the writings of Edo Period by Zen (Ch'an) monks such as Sūden and Kōgetsu. But these people seem to have appreciated it as a calligraphy by T'an-fang rather than as a painting. When we see it as a painting of the end of the Yüan Dynasty, its features enable us to imagine various aspects of the activities of the Ch'an painters of the time. Some parts of the form of human figures in this painting show irrational distortions and a variety of touches and lines are seen together in its rendition of pleats of drapery. These facts imply that it was not done with professional trained technique dut done by an amateurish painter. In other words it must be a painting for pleasure dy a Ch'an monk. As a general tendency, hobby painting of Ch'an monk then was becoming more specialized in nature and its style was imitated by some painters other than Ch'an monks. An example is the case of Hsüeh-ch'uang and his followers. (See “An Ink Painting of Orchid and Bamboo by Chuan Mo” by the present writer in No. 65, the Bijutsushi.) The Ch'an painters' works themselves were rather different from those of the Southern Sung Period in that they took in motifs which had been traditionally treated by profession. al painters. The part of the tiger in this paint. ing is a typical example. Stylistically, details are finely rendered and each detail is emphasized rather than the feeling of the whole space. Ink is heavy and dark giving the paintings the flat effect characteristic of Yüan painting. This dated painting is important material not only as hobby painting by Ch'an monks of the time, but also in connection with the current of the Yüan figure painting as well as the works of such artists as Kun K'ai and Yen Hui. |
| 目次 | 一 30 二 31 三 33 四 35 五 37 六 38 |
| ISSN | 00219088 (P) |
| 研究類別 | 繪畫 |
| 研究時代 | 元代 |
| 研究地點 | 中國 |
| 點閱次數 | 300 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2020.06.12 |
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