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本資料由 李玉珉老師 提供
| 皇帝の文物と北宋初期の開封（上）―啓聖禅院、大相国寺、宮廷をめぐる文物とその意味について―=Imperial Cultural Properties and Kaifeng in the Early Northern Song Dynasty: The Culture of the Imperial Court and the Buddhist Temples Qishengchanyuan and Daxiangguosi (Part I) | ||
| 作者 | 塚本麿充 |
|---|---|
| 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.404 |
| 出版日期 | 2011.08.30 |
| 頁次 | 1 - 36 |
| 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 | 高文進; 彌勒菩薩像; 釋迦佛; 版畫; 宮廷文物 |
| 摘要 | Fallen Leaves (1909) and Black Cat (1910), two late period masterpieces by Hishida Shunshô, are in the Eisei Bunko, the museum founded on the collection of the major collector Hosokawa Moritatsu. What is little recognized is that many of the Meiji period Nihonga works in the Moritatsu collection were not originally collected by Moritatsu himself, but rather were assembled as a collection by Akimoto Shatei (1869–1945). Akimoto, a brewer in Nagareyama, Chiba prefecture, was a member of the Meiji literati and various art communities. He collected works by such avant-garde Nihonga painters as Terasaki Kôgyó and Yokoyama Taikan, and is particularly known for his patronage of Hishida Shunshô during the artist's later years. Akimoto has been previously introduced in studies of local history, but this article is a pioneering study in the art historical field for its examination of Akimoto as one of the central, yet little known, figures who supported art in the Meiji period, particularly new schools of Nihonga. 1. Akimoto Shatei and the Literary Journal Yamabiko For many generations the Akimoto family operated a brewery, and Shatei was the fifth generation head of the family business. He became adept at haiku poetry writing during his studies at Tokyo Senmon Gakkô. After graduating and returning to his hometown, he participated in the haiku society known as the Shûseikai, and further deepened his interactions with the literary world of his day. Shatei was instrumental in the establishment of the literary journal Yamabiko and thus is of particular note in the literary history of the Meiji era. Founded in 1902, Yamabiko was edited by Kubota Utsubo with Shatei providing the funding. It published a diverse range of material, from waka poetry to haiku, from novels to critical essays and translations. The journal was active until 1904. The novel Unmei ronsha by Kunikida Doppo, published in the 10th issue, is considered one of the major works published in the journal. As financial backer of the publication, Shatei also included his haiku poetry in every issue, and thus fulfilled his own creative desires. 2. Kosabue as Seen From Its Illustrations. In December 1901, prior to the founding of Yamabiko, Shatei published a collection of his own haiku entitled Kosabue. The creation of the cover art for this collection was divided between three artists, Ichijô Narumi, Yamanaka Kodô and Terasaki Kôgyô. Of the three, Ichijô Narumi was an influential painter of the day renowned for Art Nouveau style female images published in the literary journal Myojô. Ichijô's cover for Kosabue presented an impressive image of an Ainu elder highlighted against a darkening background. His talents were fully revealed in the compelling and seductive expressions of the figures depicted in his illustrations for this collection. 3. Interactions with Terasaki Kôgyo Terasaka Kôgyô was responsible for the illustration on the frontispiece of Kosabue. He was one of the earliest of the many artists who interacted with Shatei. About half a year before the publication of Kosabue, Shatei entertained eleven literary and artistic notables in his home in Nagareyama. Kôgyô was one of the guests, who also included Ômachi Keigetsu, Emi Suiin and Tayama Katai. According to the travel diary compiled by Keigetsu and others, Kôgyô painted party works while quite inebriated, and he is also said to have painted for Shatei a fusuma painting of old pine trees and an ink bamboo work on silver screens. Kôgyo's Moonlit Landscape, today in the Eisei Bunko collection, was originally in the Shatei collection. According to an extant letter from Kôgyô to Shatei, it is thought that Kôgyô sought permission from Shatei to display the work in the Tokyo Industrial Exposition held in 1907. Shatei's apparent interest in nature and meditation is furthered evidenced by his acquisition two years later of Hishida Shunshô's Fallen Leaves. Sections 4, Interactions with Hishida Shu |
| 目次 | はじめにー皇帝の文物と佛法ー 1 一、啓聖禅院の構成とその意味 5 二、高文進「弥勒菩薩像」と奝然の入宋請来文物 22 |
| ISSN | 00219088 (P) |
| 研究類別 | 佛教圖像; 繪畫 |
| 研究時代 | 宋代 |
| 研究地點 | 河南(開封) |
| 點閱次數 | 376 |
| 建檔日期 | 2016.05.12 |
| 更新日期 | 2020.06.22 |
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