{"list":[{"id":"nda01-30438","common":{"id":"nda01-30438","title":"イザイホー（1966年）","lastUpdatedDate":1776627016862,"linkUrl":"https://nanjo-archive.jp/document/?detail=30438&genre=6","thumbnailUrl":["https://ibmuseum.mapps.ne.jp/files/9722/media_files/mid/34008.jpg"],"contentsUrl":["https://ibmuseum.mapps.ne.jp/files/9722/media_files/large/34008.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["regional","cultural"],"description":"撮影者の多和田光作は中城村出身の元教員。趣味で沖縄各地の風景、行事などをカメラで撮りためたものから、南城市関係などがご親族より寄贈された。","contributor":["南城市教育委員会"],"temporal":["1960年代"],"location":["知念エリア-久高"],"coordinates":{"lat":26.16249656677246,"lon":127.81464385986328},"provider":"okinawa_nanjo","ownerOrg":"okinawa_nanjo","database":"nda01","apiType":"ok","subCategory":["沖縄県","南城市"],"access":"PUBLIC","dclass":"521"},"rdfindex":{"type":["静止画資料"],"temporal":["1960～1969年"],"spatial":["日本 > 沖縄県"]},"nda01-0-s":"30438","nda01-1-s":"イザイホー（1966年）","nda01-3-s":"20230216","nda01-5-u":"https://ibmuseum.mapps.ne.jp/files/9722/media_files/mid/34008.jpg","nda01-6-u":"https://ibmuseum.mapps.ne.jp/files/9722/media_files/large/34008.jpg","nda01-7-c":"ccby","nda01-8-s":"internet","nda01-9-c":"image","nda01-10-s":"撮影者の多和田光作は中城村出身の元教員。趣味で沖縄各地の風景、行事などをカメラで撮りためたものから、南城市関係などがご親族より寄贈された。","nda01-11-s":"南城市教育委員会","nda01-12-s":"1960年代","nda01-13-s":"知念エリア-久高","nda01-14-s":"多和田光作コレクション","nda01-15-u":"https://nanjo-archive.jp/document/?detail=30438&genre=6","nda01-16-s":"風景/人物/ウタキ/歴史/民俗/年中行事"},{"id":"keioobjecthub-226","common":{"id":"keioobjecthub-226","title":"八幡切 （後拾遺和歌集巻第十）","titleEn":"Detached segment of Goshui Wakashu","titleYomi":"ヤワタギレ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/226","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15573_15573.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15573_15573.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/226/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"伝飛鳥井雅有筆の「八幡切」には、『後拾遺和歌集』および『千載和歌集』を書写した断簡がある。もと石清水八幡宮に伝来したため、この名がついたという。八幡宮の社僧をつとめた、寛永の三筆の一人たる松花堂昭乗〈しょうかどうしょうじょう・1584-1639〉の旧蔵と考えられる。もとは綴葉装（てっちょうそう）の冊子本。料紙は斐紙（ひし）の雲紙（くもがみ）で、雲は紫色、藍色の両種がある。これは、『後拾遺和歌集』巻第十・哀傷の部分。筆者を鎌倉時代の歌人として著名な飛鳥井雅有〈あすかいまさあり・1170-1221〉と伝称するが、確証はない。その書風と料紙装飾、および『後拾遺和歌集』『千載和歌集』の成立年代から推定して、鎌倉時代・13世紀後半の書写と思われる。","descriptionEn":"The ‘Yawata-gire’, traditionally attributed to Asukai Masaari contains manuscript copies from Go-Shui Wakashu, or the Later Collection of Gleanings of Japanese Poetry, and Senzai Wakashu (Anthology of Japanese Poems of a Thousand Years). The segment’s name derives from the Iwashimizu Hachiman (another pronunciation Yawata) Shrine in Yamashiro (Kyoto Prefecture), where the original had been handed down from generation to generation. This segment is considered to have been the property of Shokado Shojo (1584-1639), one of the three calligraphy masters of the Kanei Era (1624-1644), and he was a Buddhist priest serving at the Hachiman Shrine. Originally, it was a part of the thread-stitched bound volume. The paper is a kumogami (lit. paper with floating cloud pattern), with purplish and indigo bluish hues. This segment is a ‘elegy’ from Volume 10 of the Later Collection of Gleanings of Japanese Poetry. The handwriting is attributed to Asukai Masaari (1170-1221), a well-known poet of the Kamakura Period, but without verification. From the calligraphic style, the type of decorated paper, and the assumed dates of completion of the Later Collection of Gleanings of Japanese Poetry and Anthology of Japanese Poems of a Thousand Years, one can conclude that the original calligraphy was created toward the latter 13th century during the Kamakura Period.","contributor":["伝飛鳥井雅有"],"temporal":["AD13"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1201～1300年"]},"keioobjecthub-0-s":"226","keioobjecthub-1-s":"八幡切 （後拾遺和歌集巻第十）","keioobjecthub-2-s":"Detached segment of Goshui Wakashu","keioobjecthub-3-s":"ヤワタギレ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/226","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15573_15573.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/226/2.1/manifest.json","keioobjecthub-12-s":"伝飛鳥井雅有","keioobjecthub-13-s":"AD13","keioobjecthub-15-gs":"伝飛鳥井雅有筆の「八幡切」には、『後拾遺和歌集』および『千載和歌集』を書写した断簡がある。もと石清水八幡宮に伝来したため、この名がついたという。八幡宮の社僧をつとめた、寛永の三筆の一人たる松花堂昭乗〈しょうかどうしょうじょう・1584-1639〉の旧蔵と考えられる。もとは綴葉装（てっちょうそう）の冊子本。料紙は斐紙（ひし）の雲紙（くもがみ）で、雲は紫色、藍色の両種がある。これは、『後拾遺和歌集』巻第十・哀傷の部分。筆者を鎌倉時代の歌人として著名な飛鳥井雅有〈あすかいまさあり・1170-1221〉と伝称するが、確証はない。その書風と料紙装飾、および『後拾遺和歌集』『千載和歌集』の成立年代から推定して、鎌倉時代・13世紀後半の書写と思われる。","keioobjecthub-16-gs":"The ‘Yawata-gire’, traditionally attributed to Asukai Masaari contains manuscript copies from Go-Shui Wakashu, or the Later Collection of Gleanings of Japanese Poetry, and Senzai Wakashu (Anthology of Japanese Poems of a Thousand Years). The segment’s name derives from the Iwashimizu Hachiman (another pronunciation Yawata) Shrine in Yamashiro (Kyoto Prefecture), where the original had been handed down from generation to generation. This segment is considered to have been the property of Shokado Shojo (1584-1639), one of the three calligraphy masters of the Kanei Era (1624-1644), and he was a Buddhist priest serving at the Hachiman Shrine. Originally, it was a part of the thread-stitched bound volume. The paper is a kumogami (lit. paper with floating cloud pattern), with purplish and indigo bluish hues. This segment is a ‘elegy’ from Volume 10 of the Later Collection of Gleanings of Japanese Poetry. The handwriting is attributed to Asukai Masaari (1170-1221), a well-known poet of the Kamakura Period, but without verification. From the calligraphic style, the type of decorated paper, and the assumed dates of completion of the Later Collection of Gleanings of Japanese Poetry and Anthology of Japanese Poems of a Thousand Years, one can conclude that the original calligraphy was created toward the latter 13th century during the Kamakura Period.","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD13","keioobjecthub-20-s":"作者:伝飛鳥井雅有","keioobjecthub-24-s":"AW-CEN-002214-0002","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"斯道文庫"},{"id":"tfam_art_db-1518","common":{"id":"tfam_art_db-1518","title":"澱青釉紫紅斑杯","titleEn":"Cup, Bluish opaque Glaze with Reddish-purple Spots","titleYomi":"でんせいゆうしこうはんはい","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01518/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01518.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01518.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"杯に施された失透性の青い釉薬は、日本では「澱青釉」、中国では「天青（てんせい）」と呼ばれる。釉薬に硅酸（けいさん）分が多く含まれる成分を加えることで白濁させる。さらにその上に、銅を主成分とする釉薬を施して、杯の内外面に紫紅色の斑文を作り出している。これらの釉薬は鈞窯に特徴的な技法である。澱青釉と紫紅斑の織りなす不定形で抽象的な文様は、まるで天体望遠鏡で覗いた星雲の様に幻想的である。","contributor":["鈞窯","Jun Ware"],"temporal":["金（12-13世紀）","Jin dynasty (12-13 C.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["12～13世紀"],"spatial":["海外 > アジア > 中国"]},"tfam_art_db-0-s":"1518","tfam_art_db-1-s":"鈞窯","tfam_art_db-2-s":"Jun Ware","tfam_art_db-3-s":"きんよう","tfam_art_db-6-s":"中国","tfam_art_db-8-s":"北宋時代から元時代の窯。窯跡は河南省許昌市禹州市にあり、窯名はかつて鈞州に属していたことによる。特徴的な製品は、澱青釉と呼ばれる失透性の青い釉薬が掛けられた陶器。澱青釉の上にさらに銅を呈色剤とする紫紅色の斑文をつくり出した一群や、銅分を加えた紫紅色の釉薬が掛けられたものもある。","tfam_art_db-10-s":"澱青釉紫紅斑杯","tfam_art_db-11-s":"Cup, Bluish opaque Glaze with Reddish-purple Spots","tfam_art_db-12-s":"でんせいゆうしこうはんはい","tfam_art_db-13-s":"1","tfam_art_db-14-s":"金（12-13世紀）","tfam_art_db-15-s":"Jin dynasty (12-13 C.)","tfam_art_db-18-s":"高4.3cm、口径8.5cm、底径3.3cm","tfam_art_db-19-s":"H 4.3 cm, Dia. 8.5 cm","tfam_art_db-20-s":"杯に施された失透性の青い釉薬は、日本では「澱青釉」、中国では「天青（てんせい）」と呼ばれる。釉薬に硅酸（けいさん）分が多く含まれる成分を加えることで白濁させる。さらにその上に、銅を主成分とする釉薬を施して、杯の内外面に紫紅色の斑文を作り出している。これらの釉薬は鈞窯に特徴的な技法である。澱青釉と紫紅斑の織りなす不定形で抽象的な文様は、まるで天体望遠鏡で覗いた星雲の様に幻想的である。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01518/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01518.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01518.jpg.webp"},{"id":"tfam_art_db-531","common":{"id":"tfam_art_db-531","title":"豊穣な恵み","titleEn":"Happy Fecundity","titleYomi":"ほうじょうなめぐみ","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/00531/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00531.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/00531.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"一般的に「幸せな大家族」「子だくさんの幸せ」というタイトルで知られているこの楕円形の絵は、同じ絵柄のヴァージョンが本作の他に4点（ワシントン・ナショナルギャラリー所蔵ほか）知られており、当時人気を集めた主題である。画面の中央に白いブラウス、赤いスカートの若い母親が幼子を抱いて坐り、その周りで年長の子どもたちが遊ぶ。左手の窓の外では父親がロバと一緒に家の中をのぞいている。母親の背後には、召使いの女とその子であろうか、シルエットのように寄り添って描かれている。家畜の犬とロバもまるで家族のようで、人物は自由なポーズと視線をとりながら、親しげな感じで互いに深く結びついている様子が見て取れる。しかし、部屋の上方をみると、古代イタリアの廃墟のようであり、この家族の団欒とはおよそ不釣り合いな、古くて大きな石造りの空間である。右手の台（羊の頭と花絆を象った飾りが施されているので古い祭壇であろうか。とすれば、この建物は神殿である）の上には玉葱と肉の塊が置かれ、金属製の深鍋のような容器も見える。質素な生活だが子宝に恵まれて幸せな家族───。幻想的な建築物を背景に描かれた若い両親と子どもたち───。この絵には、さらに目には見えないいくつかの事実が隠されている。ひとつは、この家族像は18世紀フランスで活躍した思想家ルソーの「家庭は社会の基本であり、家族愛は道徳の根本」という思想を絵に描いた「理想の家族像」であるということ。もうひとつは、フラゴナール自身が幸福な家庭生活に恵まれ、当時流行した官能的なロココ風の絵のみならず、こうした素朴な絵にも才能を発揮することができたこと。そして更にもうひとつ、この絵は、「聖母子像」「聖家族」「羊飼いの礼拝」といった伝統的なキリスト教絵画のテーマを、当時の人物、当世風の主題にリメイクした作品である、ということである。これはフラゴナールが単に風俗画家なのではなく、宗教画家としても優れた知識と技術を持っていたことの証明でもある。赤と青の着衣に身を包み、幼子を抱く若い女性像は、伝統的に聖母マリアと幼児キリストを表わすもので、「絵画の伝統を継承しつつ、自由で新しい18世紀の精神をも体現する」フラゴナールらしい作品といえよう。","contributor":["ジャン＝オノレ・フラゴナール","Jean-Honoré Fragonard"],"temporal":["1773-76年","1773-76"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["絵画"],"temporal":["1773～1776年"],"spatial":["海外 > ヨーロッパ > フランス"]},"tfam_art_db-0-s":"531","tfam_art_db-1-s":"ジャン＝オノレ・フラゴナール","tfam_art_db-2-s":"Jean-Honoré Fragonard","tfam_art_db-3-s":"ふらごなーる、じゃん＝おのれ","tfam_art_db-4-s":"1732-1806","tfam_art_db-5-s":"1732-1806","tfam_art_db-6-s":"フランス","tfam_art_db-7-s":"French","tfam_art_db-8-s":"18世紀フランスを代表する画家。バロックの装飾趣味とロココの享楽主義を集大成した画家として有名。ローマ賞受賞ののち、1756年ローマに留学。ここでバロック芸術を学んだ。帰国後、王立アカデミーの会員となる。装飾家、版画家、挿絵画家としても活躍し、ワトーなきあとのフランス画壇の代表的存在として名声を博した。彼の芸術は女性を讃美した18世紀フランス絵画を最も特徴づけるものであり、感覚的で繊細な風俗画を数多く残した。","tfam_art_db-10-s":"豊穣な恵み","tfam_art_db-11-s":"Happy Fecundity","tfam_art_db-12-s":"ほうじょうなめぐみ","tfam_art_db-13-s":"1","tfam_art_db-14-s":"1773-76年","tfam_art_db-15-s":"1773-76","tfam_art_db-16-s":"油彩、カンヴァス","tfam_art_db-17-s":"Oil on canvas","tfam_art_db-18-s":"54.0×64.8cm","tfam_art_db-19-s":"54.0 x 64.8 cm","tfam_art_db-20-s":"一般的に「幸せな大家族」「子だくさんの幸せ」というタイトルで知られているこの楕円形の絵は、同じ絵柄のヴァージョンが本作の他に4点（ワシントン・ナショナルギャラリー所蔵ほか）知られており、当時人気を集めた主題である。画面の中央に白いブラウス、赤いスカートの若い母親が幼子を抱いて坐り、その周りで年長の子どもたちが遊ぶ。左手の窓の外では父親がロバと一緒に家の中をのぞいている。母親の背後には、召使いの女とその子であろうか、シルエットのように寄り添って描かれている。家畜の犬とロバもまるで家族のようで、人物は自由なポーズと視線をとりながら、親しげな感じで互いに深く結びついている様子が見て取れる。しかし、部屋の上方をみると、古代イタリアの廃墟のようであり、この家族の団欒とはおよそ不釣り合いな、古くて大きな石造りの空間である。右手の台（羊の頭と花絆を象った飾りが施されているので古い祭壇であろうか。とすれば、この建物は神殿である）の上には玉葱と肉の塊が置かれ、金属製の深鍋のような容器も見える。質素な生活だが子宝に恵まれて幸せな家族───。幻想的な建築物を背景に描かれた若い両親と子どもたち───。この絵には、さらに目には見えないいくつかの事実が隠されている。ひとつは、この家族像は18世紀フランスで活躍した思想家ルソーの「家庭は社会の基本であり、家族愛は道徳の根本」という思想を絵に描いた「理想の家族像」であるということ。もうひとつは、フラゴナール自身が幸福な家庭生活に恵まれ、当時流行した官能的なロココ風の絵のみならず、こうした素朴な絵にも才能を発揮することができたこと。そして更にもうひとつ、この絵は、「聖母子像」「聖家族」「羊飼いの礼拝」といった伝統的なキリスト教絵画のテーマを、当時の人物、当世風の主題にリメイクした作品である、ということである。これはフラゴナールが単に風俗画家なのではなく、宗教画家としても優れた知識と技術を持っていたことの証明でもある。赤と青の着衣に身を包み、幼子を抱く若い女性像は、伝統的に聖母マリアと幼児キリストを表わすもので、「絵画の伝統を継承しつつ、自由で新しい18世紀の精神をも体現する」フラゴナールらしい作品といえよう。","tfam_art_db-21-s":"This oval painting is commonly known by the titles Happy Family or Happy Fecundity. Besides this painting, there are four other versions of this composition confirmed, all of which are identical (National Gallery of Art, Washington, D.C., etc.). The subject matter of this painting was very popular at the time. In the center of the painting, a young mother in a white blouse and red skirt is sitting holding a little child, with older children playing around her. From the outside of the window on the left, a father is looking into the house along with a donkey. Behind the mother could be a maid and her child, both of who are leaning on each other, portrayed like a silhouette. The domestic animals—a dog and a donkey—also appear as a part of the family. The figures, taking relaxed poses and casting a glance at each other, convey a friendly atmosphere and show their deeper connections with each other. Meanwhile, the upper part of the room is an old, large stone structure, looking like an ancient Italian ruin, which is unmatched with the scene of this happy family gathering. Onions and a lump of meat are placed on the top of the pedestal on the right (which could be an old altar due to that it is decorated with the sheep’s head and garland of flowers. If so, this building is a temple). A container like a metal deep pot can be seen on the top of the pedestal, as well.  Besides a happy family that lives humbly but is blessed with many children, or young parents and their children depicted against the background of fantastic structure, some facts that are invisible to the eyes are still hidden in this painting. One is that this family implies an image of an “ideal family” conceived based on the philosophy—that the family is the basis of society and love in the family is the foundation of morality—of the 18th-century French thinker Rousseau. Another is that Fragonard himself was blessed with a very happy home life and displayed his talents in creating not only sensual Rococo-style paintings that were popular at the time, but also such a naïve painting as this one. And furthermore, this painting is a remake of traditional subjects of Christian art, such as the Virgin and Child, the Holy Family, and the Adoration of the Shepherds, using a contemporary style and stylish subject matter. This proves that Fragonard was not just a genre painter, but also had excellent knowledge and skills as a religious painter. The young woman in red and blue clothes holding her little child traditionally represents the Virgin Mary and the Christ child. Therefore, this work can be said to be a typical of Fragonard, who “embodied the free and new spirit of the 18th century while passing on the traditions of painting.”","tfam_art_db-22-s":"油彩画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/00531/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/00531.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00531.jpg.webp"},{"id":"tfam_art_db-7959","common":{"id":"tfam_art_db-7959","title":"ギターと帽子（「マネ、30点のオリジナル・エッチング集」より）","titleEn":"Guitar and Hat (Portfolio of 30 Original Etchings by Édouard Manet)","titleYomi":"ぎたーとぼうし（「まね、30てんのおりじなる・えっちんぐしゅう」より）","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/07959/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07959.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/07959.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"本作は1862年に制作した《スペイン帽とギター》（カルヴェ美術館蔵）に描かれた主要な部分を版刻したもので、同作はマネのアトリエの扉の上に飾られていたという。こうしたスペインの異国情緒を醸し出した、いわゆる「スペイン趣味」の画題はマネの初期作品を象徴している。本作と同じモティーフは、マネが1862年、最初に版行した8点のエッチング集の表紙の一部に採用されている。その後、第2版（1874年）では帽子、ギター、マントという3つのモティーフにタイトルをつけた形で再構成され、本作ではそのタイトルの部分も取り去られ、モティーフのみが作品として収録されている。","contributor":["エドゥアール・マネ","Édouard Manet"],"temporal":["1905年、パリ（1874年初版）","1905, Paris (1874, first edition)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"723"},"rdfindex":{"type":["版画"],"temporal":["朝鮮・李氏朝鮮時代","明治","中国・清時代"],"spatial":["海外 > ヨーロッパ > フランス"]},"tfam_art_db-0-s":"7959","tfam_art_db-1-s":"エドゥアール・マネ","tfam_art_db-2-s":"Édouard Manet","tfam_art_db-3-s":"まね、えどぅあーる","tfam_art_db-4-s":"1832-1883","tfam_art_db-5-s":"1832-1883","tfam_art_db-6-s":"フランス","tfam_art_db-7-s":"French","tfam_art_db-8-s":"パリ生まれ。トマ・クチュールの画塾で学ぶ。ディエゴ・ベラスケス、フランシスコ・デ・ゴヤなどのスペイン絵画のもつ強烈な明暗法や表現力に感化され、新しい表現方法を試みた。1863年のサロンに落選した《草上の昼食》（オルセー美術館蔵）が、いわゆる落選展に出品され、スキャンダルとなり、2年後のサロンに入選した《オランピア》（同館蔵）とともに激しい非難を浴びた。「カフェ・ゲルボワ」での集いを中心にクロード・モネやピエール＝オーギュスト・ルノワールとも交友し、印象派の生みの親と言われる。彼の芸術の本領は人物画にあり、近代生活を新鮮な感覚と明快なタッチで描出するのが得意であった。","tfam_art_db-10-s":"ギターと帽子（「マネ、30点のオリジナル・エッチング集」より）","tfam_art_db-11-s":"Guitar and Hat (Portfolio of 30 Original Etchings by Édouard Manet)","tfam_art_db-12-s":"ぎたーとぼうし（「まね、30てんのおりじなる・えっちんぐしゅう」より）","tfam_art_db-13-s":"1","tfam_art_db-14-s":"1905年、パリ（1874年初版）","tfam_art_db-15-s":"1905, Paris (1874, first edition)","tfam_art_db-16-s":"エッチング","tfam_art_db-17-s":"Etching","tfam_art_db-20-s":"本作は1862年に制作した《スペイン帽とギター》（カルヴェ美術館蔵）に描かれた主要な部分を版刻したもので、同作はマネのアトリエの扉の上に飾られていたという。こうしたスペインの異国情緒を醸し出した、いわゆる「スペイン趣味」の画題はマネの初期作品を象徴している。本作と同じモティーフは、マネが1862年、最初に版行した8点のエッチング集の表紙の一部に採用されている。その後、第2版（1874年）では帽子、ギター、マントという3つのモティーフにタイトルをつけた形で再構成され、本作ではそのタイトルの部分も取り去られ、モティーフのみが作品として収録されている。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/07959/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/07959.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07959.jpg.webp"},{"id":"tfam_art_db-1339","common":{"id":"tfam_art_db-1339","title":"画家の家の庭","titleEn":"Garden of the Painter’s House","titleYomi":"がかのいえのにわ","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01339/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01339.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01339.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"フランスの古都トゥールーズで家具職人の息子として生まれたマルタンは、地元の美術学校で学んだあと奨学金を得てパリに出て、1879年にジャン・ポール・ローランス（1838-1921）のアトリエに入った。学生の個性を重視するローランスのもとでは、中村不折（1866-1943）といったパリに留学した日本人洋画家たちが指導を受けたことでも知られる。ローランスのもとで学んだマルタンは、4年後にサロンで一等賞を獲得し、さらにその2年後にはイタリア旅行の奨学金を得るなどその才能を伸ばした。もともとは古典主義的な作品を描いていたが、友人のアマン・ジャンやローランを通してスーラの新印象主義の技法を取り入れるようになり、晩年に向かうにつれて、その細かい筆致の色彩は冴えわたった。晩年、フランス南部の小さな町ラバスティド・デュ・ヴェールに移り住んだマルタンは、町が見渡せる小高い丘に大きな邸宅を構え、美しい花々が咲き香る自宅の庭園やそこから望む自然の美しい風景を描いている。本作に描かれているのも、晩年彼が好んで描いた自宅の庭である。手入れが行き届いた庭には、赤やピンク、白など色とりどりの花々が咲き誇っている。暖かな陽光が草花を包み込んで淡い輝きを放っている。","contributor":["アンリ・マルタン","Henri Martin"],"temporal":["1902年","1902"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"723"},"rdfindex":{"type":["絵画"],"temporal":["朝鮮・李氏朝鮮時代","明治","中国・清時代"],"spatial":["海外 > ヨーロッパ > フランス"]},"tfam_art_db-0-s":"1339","tfam_art_db-1-s":"アンリ・マルタン","tfam_art_db-2-s":"Henri Martin","tfam_art_db-3-s":"まるたん、あんり","tfam_art_db-4-s":"1860-1943","tfam_art_db-5-s":"1860-1943","tfam_art_db-6-s":"フランス","tfam_art_db-7-s":"French","tfam_art_db-8-s":"フランスの古都トゥールーズに生まれる。奨学金を得て国立美術学校で学んだ。イタリア旅行によりルネサンス期の作品に心惹かれるが、ローラン、アマン・ジャンを知り新印象主義の技法を取り入れる。晩年に向かうにつれて、その細かい筆致の色彩は冴えわたった。彼の画面には、暖かな陽光の下のほのかな温かみが空気の振動と共に伝わってくるような、ほのぼのとした詩情があふれている。","tfam_art_db-10-s":"画家の家の庭","tfam_art_db-11-s":"Garden of the Painter’s House","tfam_art_db-12-s":"がかのいえのにわ","tfam_art_db-13-s":"1","tfam_art_db-14-s":"1902年","tfam_art_db-15-s":"1902","tfam_art_db-16-s":"油彩、カンヴァス","tfam_art_db-17-s":"Oil on canvas","tfam_art_db-18-s":"83.0×72.0cm","tfam_art_db-19-s":"83.0 x 72.0 cm","tfam_art_db-20-s":"フランスの古都トゥールーズで家具職人の息子として生まれたマルタンは、地元の美術学校で学んだあと奨学金を得てパリに出て、1879年にジャン・ポール・ローランス（1838-1921）のアトリエに入った。学生の個性を重視するローランスのもとでは、中村不折（1866-1943）といったパリに留学した日本人洋画家たちが指導を受けたことでも知られる。ローランスのもとで学んだマルタンは、4年後にサロンで一等賞を獲得し、さらにその2年後にはイタリア旅行の奨学金を得るなどその才能を伸ばした。もともとは古典主義的な作品を描いていたが、友人のアマン・ジャンやローランを通してスーラの新印象主義の技法を取り入れるようになり、晩年に向かうにつれて、その細かい筆致の色彩は冴えわたった。晩年、フランス南部の小さな町ラバスティド・デュ・ヴェールに移り住んだマルタンは、町が見渡せる小高い丘に大きな邸宅を構え、美しい花々が咲き香る自宅の庭園やそこから望む自然の美しい風景を描いている。本作に描かれているのも、晩年彼が好んで描いた自宅の庭である。手入れが行き届いた庭には、赤やピンク、白など色とりどりの花々が咲き誇っている。暖かな陽光が草花を包み込んで淡い輝きを放っている。","tfam_art_db-22-s":"油彩画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01339/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01339.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01339.jpg.webp"},{"id":"keioobjecthub-2613","common":{"id":"keioobjecthub-2613","title":"冷泉為恭筆藤原行成像","titleYomi":"レイゼイタメチカヒツフジワラノユキナリゾウ","lastUpdatedDate":1667919600000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/2613","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15662_15662.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15662_15662.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/2613/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"冷泉為恭〈れいぜいためちか・1823-64〉は、幕末の復古大和絵派の画家。画家狩野永泰（かのうえいたい）の第３子として京都に生まれる。が、みずからは冷泉姓を名乗り、のち岡田家の養子となって、菅原姓を名乗った。画ははじめ父にしたがって狩野派を学ぶが、やがて大和絵に興味を抱き、古寺名刹に伝来の古画の模写を通じて大和絵の手法を学び取っていった。「源頼朝像」（東京国立博物館蔵）・「法然上人絵伝」（京都知恩院蔵）などの模写作品をはじめ多数の作品を残す。安政４年〈1857〉の大樹寺（愛知県岡崎市）の障壁画はかれの代表作とされる。あわせて上代様の書法や有職故実にも精通した。が、晩年、「伴大納言絵詞」の模写を願い、その所有者である京都所司代酒井忠義〈さかいただあき・1813-73〉邸に出入りしたことが、幕府に通じているとの風聞を招き、尊皇派の追手からの逃亡生活を余儀なくされた。上賀茂の神光院、紀州粉河寺（こかわでら）へ身を隠したが、元治元年〈1864〉５月５日、大和丹波市（奈良県天理市）で長州藩士によって非業の死を遂げた。42歳であった。これは、わが国の書道史上、和様書道を完成させた平安時代中期の３人の能書家三跡の画像を描く。小野道風〈おののみちかぜ・894-966〉・藤原佐理〈ふじわらのすけまさ・944-998〉・藤原行成〈ふじわらのゆきなり・972-1027〉のこと。道風を中に、向かって右に佐理、左に行成の画像を配する図様になっている。為恭が上代様（平安時代の和様の書）に強く惹かれたことは、かれが模写した古筆の数々によって知られるところであるが、ことに上代様の頂点に位置する三跡に対する畏敬の念は、ほとんど信仰的であったとさえ思われる。この３幅対も、仏画の三尊形式に倣ったものではなかろうか。「為恭謹作」という署名にかれの敬虔な祈りにも似た情念があふれている。３人３様、面貌は史実に伝えられるそれぞれの風をよく表しているといえよう。また、浜松を描いた中廻しは描き表装。画面を避けてその表装部分に署名をしている。明治時代の元勲で、古美術に異常な興味をもったことで知られる井上馨〈いのうえかおる・1836-1915〉の旧蔵品である。\n","descriptionEn":"A painter of the late Edo Period, Reizei Tamechika (1823-64) was born in Kyoto as the son of Kano Eitai. However, he liked the Reizei surname so much that he adopted it and called himself “Reizei Saburo.” He was later adopted into the Okada Family and appointed the Protector of Ohmi, Junior Fifth Rank. With a strong aversion for the highly-formalized Kano School painting styles, Tamechika was attracted to the revival of the Yamatoe tradition (used in ancient Japanese court paintings), a movement led on the art scene by Tanaka Totsugen (1767-1823). Well-versed in ancient manners and decorum, Tamechika also contributed greatly to the revival of ancient court culture. In his last years, he frequented the Sakai Family mansions to make reproductions of the “Picture Scroll Depicting Major Counselor Tomono”. But, this artistic activity was misinterpreted by the samurai, who were staging urban guerilla warfare in order to dispel foreign influences. As a result, Tamechika fled from Kyoto (1862) and sought the Buddhist life, adopting the name Shinren-Bo Koa. Nevertheless, he was assassinated in May 1864 by a band of Choshu samurai, acting on a self-imposed mission to terminate the military government under the House of Tokugawa. He was 42 years old. The exhibit is a portrait of Three Great Carigraphists of the mid Heian period, Ono-no Michikaze (also Tofu, 894-996), Fujiwara-no Sukemasa (also Sari, 944-998) and Fujiwara-no Yukinari (also Kozei, 972-1027). They established a Japanese style of writing.\n","contributor":["冷泉為恭"],"temporal":["AD19"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["芸術・美術"],"temporal":["1801～1900年"]},"keioobjecthub-0-s":"2613","keioobjecthub-1-s":"冷泉為恭筆藤原行成像","keioobjecthub-3-s":"レイゼイタメチカヒツフジワラノユキナリゾウ","keioobjecthub-4-d":"2022/11/09","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/2613","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15662_15662.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/2613/2.1/manifest.json","keioobjecthub-12-s":"冷泉為恭","keioobjecthub-13-s":"AD19","keioobjecthub-15-gs":"冷泉為恭〈れいぜいためちか・1823-64〉は、幕末の復古大和絵派の画家。画家狩野永泰（かのうえいたい）の第３子として京都に生まれる。が、みずからは冷泉姓を名乗り、のち岡田家の養子となって、菅原姓を名乗った。画ははじめ父にしたがって狩野派を学ぶが、やがて大和絵に興味を抱き、古寺名刹に伝来の古画の模写を通じて大和絵の手法を学び取っていった。「源頼朝像」（東京国立博物館蔵）・「法然上人絵伝」（京都知恩院蔵）などの模写作品をはじめ多数の作品を残す。安政４年〈1857〉の大樹寺（愛知県岡崎市）の障壁画はかれの代表作とされる。あわせて上代様の書法や有職故実にも精通した。が、晩年、「伴大納言絵詞」の模写を願い、その所有者である京都所司代酒井忠義〈さかいただあき・1813-73〉邸に出入りしたことが、幕府に通じているとの風聞を招き、尊皇派の追手からの逃亡生活を余儀なくされた。上賀茂の神光院、紀州粉河寺（こかわでら）へ身を隠したが、元治元年〈1864〉５月５日、大和丹波市（奈良県天理市）で長州藩士によって非業の死を遂げた。42歳であった。これは、わが国の書道史上、和様書道を完成させた平安時代中期の３人の能書家三跡の画像を描く。小野道風〈おののみちかぜ・894-966〉・藤原佐理〈ふじわらのすけまさ・944-998〉・藤原行成〈ふじわらのゆきなり・972-1027〉のこと。道風を中に、向かって右に佐理、左に行成の画像を配する図様になっている。為恭が上代様（平安時代の和様の書）に強く惹かれたことは、かれが模写した古筆の数々によって知られるところであるが、ことに上代様の頂点に位置する三跡に対する畏敬の念は、ほとんど信仰的であったとさえ思われる。この３幅対も、仏画の三尊形式に倣ったものではなかろうか。「為恭謹作」という署名にかれの敬虔な祈りにも似た情念があふれている。３人３様、面貌は史実に伝えられるそれぞれの風をよく表しているといえよう。また、浜松を描いた中廻しは描き表装。画面を避けてその表装部分に署名をしている。明治時代の元勲で、古美術に異常な興味をもったことで知られる井上馨〈いのうえかおる・1836-1915〉の旧蔵品である。\n","keioobjecthub-16-gs":"A painter of the late Edo Period, Reizei Tamechika (1823-64) was born in Kyoto as the son of Kano Eitai. However, he liked the Reizei surname so much that he adopted it and called himself “Reizei Saburo.” He was later adopted into the Okada Family and appointed the Protector of Ohmi, Junior Fifth Rank. With a strong aversion for the highly-formalized Kano School painting styles, Tamechika was attracted to the revival of the Yamatoe tradition (used in ancient Japanese court paintings), a movement led on the art scene by Tanaka Totsugen (1767-1823). Well-versed in ancient manners and decorum, Tamechika also contributed greatly to the revival of ancient court culture. In his last years, he frequented the Sakai Family mansions to make reproductions of the “Picture Scroll Depicting Major Counselor Tomono”. But, this artistic activity was misinterpreted by the samurai, who were staging urban guerilla warfare in order to dispel foreign influences. As a result, Tamechika fled from Kyoto (1862) and sought the Buddhist life, adopting the name Shinren-Bo Koa. Nevertheless, he was assassinated in May 1864 by a band of Choshu samurai, acting on a self-imposed mission to terminate the military government under the House of Tokugawa. He was 42 years old. The exhibit is a portrait of Three Great Carigraphists of the mid Heian period, Ono-no Michikaze (also Tofu, 894-996), Fujiwara-no Sukemasa (also Sari, 944-998) and Fujiwara-no Yukinari (also Kozei, 972-1027). They established a Japanese style of writing.\n","keioobjecthub-17-s":"慶應義塾ミュージアム・コモンズ","keioobjecthub-18-u":"https://jpsearch.go.jp/organization/keiokemco","keioobjecthub-19-s":"制作年:AD19","keioobjecthub-20-s":"作者:冷泉為恭","keioobjecthub-23-s":"絹本着色","keioobjecthub-24-s":"AW-CEN-002313-0001","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-32-s":"ミュージアム・コモンズ"},{"id":"apmoa_mapps-17205","common":{"id":"apmoa_mapps-17205","title":"深山渡橋図","titleEn":"Landscape with Mountains and a Bridge","lastUpdatedDate":1594611057041,"linkUrl":"https://jmapps.ne.jp/apmoa/det.html?data_id=17205","thumbnailUrl":["https://ibmuseum.mapps.ne.jp/files/5899/media_files/large/9793.jpg"],"contentsType":"image","contentsRightsType":"pdm","contentsAccess":"internet","category":["art"],"description":"本図は、「秋色半分図」「酔雲醒月図」「五言絶句」の詩書と共に一幅に収められていた。この形式は、一幅の掛幅に円窓型、扇面型、方型などの輪郭をとり、その中に書画をかく図中書画などとも呼ばれる。墨の階調は、採光によってデリケートな変化を見せるが、玉堂はこの明暗による陰影を好んで画中にとらえている。玉堂の山水は、胸中の山水であって、たんなる写生ではなく、表現意欲の昂揚するにつれ、刻々と変化してゆく。細部の表現の面白さに特徴がある。もともと同一紙面にかかれていたもので、本来は三段構成の書画であり、分割されて現状のそれぞれ独立した形式の四幅となった。もともと同一紙面にかかれていたもので、本来は三段構成の書画であり、分割されて現状のそれぞれ独立した形式の四幅となった。「山水図（深山渡橋図）」は、下段詩書のとなり右側に描かれていた。","contributor":["浦上玉堂　URAKAMI Gyokudo","Landscape with Mountains and a Bridge","ink on paper","木村定三コレクション / Kimura Teizo Collection"],"temporal":["文政元（1818）年","1818 (Bunsei 1)"],"location":["日本画（日本）"],"provider":"apmoa","ownerOrg":"ZENBI","database":"apmoa_mapps","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代","朝鮮・李氏朝鮮時代","中国・清時代"]},"apmoa_mapps-0-s":"深山渡橋図","apmoa_mapps-1-s":"浦上玉堂　URAKAMI Gyokudo","apmoa_mapps-2-s":"文政元（1818）年","apmoa_mapps-3-s":"紙本墨画","apmoa_mapps-4-s":"41.0×22.8","apmoa_mapps-5-s":"日本画（日本）","apmoa_mapps-6-s":"JJ200300524000","apmoa_mapps-7-s":"木村定三コレクション / Kimura Teizo Collection","apmoa_mapps-8-s":"M2894","apmoa_mapps-9-s":"本図は、「秋色半分図」「酔雲醒月図」「五言絶句」の詩書と共に一幅に収められていた。この形式は、一幅の掛幅に円窓型、扇面型、方型などの輪郭をとり、その中に書画をかく図中書画などとも呼ばれる。墨の階調は、採光によってデリケートな変化を見せるが、玉堂はこの明暗による陰影を好んで画中にとらえている。玉堂の山水は、胸中の山水であって、たんなる写生ではなく、表現意欲の昂揚するにつれ、刻々と変化してゆく。細部の表現の面白さに特徴がある。もともと同一紙面にかかれていたもので、本来は三段構成の書画であり、分割されて現状のそれぞれ独立した形式の四幅となった。もともと同一紙面にかかれていたもので、本来は三段構成の書画であり、分割されて現状のそれぞれ独立した形式の四幅となった。「山水図（深山渡橋図）」は、下段詩書のとなり右側に描かれていた。","apmoa_mapps-10-s":"Landscape with Mountains and a Bridge","apmoa_mapps-11-s":"1818 (Bunsei 1)","apmoa_mapps-12-s":"ink on paper","apmoa_mapps-13-s":"41.0×22.8","apmoa_mapps-15-s":"17205","apmoa_mapps-16-s":"9793.0","apmoa_mapps-17-s":"M2894_020224_001, 2002/02/24撮影, Public Domain","apmoa_mapps-18-s":"pdm","apmoa_mapps-imageURL-u":"https://ibmuseum.mapps.ne.jp/files/5899/media_files/large/9793.jpg","apmoa_mapps-landingURL-u":"https://jmapps.ne.jp/apmoa/det.html?data_id=17205"},{"id":"moco_cs-1120","common":{"id":"moco_cs-1120","title":"青磁象嵌 童子宝相華唐草文 水注","titleEn":"EWER","titleYomi":"せいじぞうがん どうじほうそうげからくさもん すいちゅう","lastUpdatedDate":1725980400000,"linkUrl":"https://jmapps.ne.jp/mocoor/det.html?data_id=1120","thumbnailUrl":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5365.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5367.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5368.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4760.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4500.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4151.jpg"],"contentsUrl":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5365.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5367.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5368.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4760.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4500.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4151.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["art","cultural"],"description":"蔓をよじ登る童子と、そのまわりに宝相華の大きな花文が施された水注です。蔓草にたわむれる童子の文様は、中国宋時代の陶磁器にもしばしば見られ、本作もそれを原型とするものでしょう。文様に込められた子孫繁栄の願いが、球形のまろやかな形とよく溶け合っています。大きな宝相華の文様表現は珍しく、輪郭を黒象嵌で表してその背景を白土で埋め込む象嵌が文様を一層際立たせ、この種の青磁の最高作です。把手と注口の根元には蓮の葉や芽をあしらい、白堆（はくつい）と鉄彩によって装飾が施されるなど、多彩な技法が用いられています。","descriptionEn":"The body of this ewer is covered with a scene of boys climbing vines amid large baoxianghua flowers. The motif of boys playing among vines are often found in Chinese ceramics of the Song dynasty and this work was probably inspired by those works. This motif","contributor":["Gangjin or Buan"],"temporal":["高麗時代","12－13世紀","Goryeo dynasty","12th-13th century"],"provider":"moco_toyotoji","ownerOrg":"ZENBI","database":"moco_cs","apiType":"ok","subCategory":["陶磁器","東洋","中国陶磁","韓国陶磁","日本陶磁"],"access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["12～13世紀"]},"moco_cs-0-s":"1120","moco_cs-1-s":"青磁象嵌 童子宝相華唐草文 水注","moco_cs-2-s":["EWER"," celadon with inlaid design of boys and baoxianghua scroll"],"moco_cs-3-s":"せいじぞうがん どうじほうそうげからくさもん すいちゅう","moco_cs-4-s":"20240911","moco_cs-5-u":"https://jmapps.ne.jp/mocoor/det.html?data_id=1120","moco_cs-6-u":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5365.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5367.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5368.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4760.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4500.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4151.jpg"],"moco_cs-7-u":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5365.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5367.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5368.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4760.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4500.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4151.jpg"],"moco_cs-8-c":"ccby","moco_cs-9-c":"internet","moco_cs-10-c":"image","moco_cs-11-s":"蔓をよじ登る童子と、そのまわりに宝相華の大きな花文が施された水注です。蔓草にたわむれる童子の文様は、中国宋時代の陶磁器にもしばしば見られ、本作もそれを原型とするものでしょう。文様に込められた子孫繁栄の願いが、球形のまろやかな形とよく溶け合っています。大きな宝相華の文様表現は珍しく、輪郭を黒象嵌で表してその背景を白土で埋め込む象嵌が文様を一層際立たせ、この種の青磁の最高作です。把手と注口の根元には蓮の葉や芽をあしらい、白堆（はくつい）と鉄彩によって装飾が施されるなど、多彩な技法が用いられています。","moco_cs-12-s":["The body of this ewer is covered with a scene of boys climbing vines amid large baoxianghua flowers. The motif of boys playing among vines are often found in Chinese ceramics of the Song dynasty and this work was probably inspired by those works. This motif"," symbolizing the wish for prosperity of descendants"," pleasantly harmonizes with the smooth"," globular form. Diverse decorative techniques are observed in this piece. The reverse inlay technique"," in which the motifs were outlined in black inlay while the background was inlaid with white slip"," makes the rarely large baoxianghua flower motifs stand out even clearer. The joint sections of the handle and spout to the body are embellished with lotus leaves and buds"," to which decorations were added in trailed white slip and iron paint. Such various elements make this ewer a masterpiece among the celadon of this type."],"moco_cs-14-s":"高麗時代","moco_cs-15-s":"12－13世紀","moco_cs-16-s":"重要文化財","moco_cs-17-s":"19.2","moco_cs-18-s":"23.9×16.4","moco_cs-20-s":"安宅コレクション","moco_cs-21-s":"大阪市立東洋陶磁美術館(住友グループ寄贈/安宅コレクション)　写真：〓（各画像左下の撮影者名を記入のこと）","moco_cs-22-s":"00226","moco_cs-23-s":"The ATAKA Collection","moco_cs-24-s":"Goryeo dynasty","moco_cs-25-s":"12th-13th century","moco_cs-26-s":"Important Cultural Property","moco_cs-27-s":["The Museum of Oriental Ceramics"," Osaka (gift of SUMITOMO Group"," the ATAKA Collection)"," photograph by 〓（Please credit the name of the photographer which is indicated at the bottom left of each image）"],"moco_cs-28-s":["1","668"],"moco_cs-29-s":"Gangjin or Buan"},{"id":"tfam_art_db-8843","common":{"id":"tfam_art_db-8843","title":"二代目関三十郎の石塚甚三郎、三代目中村歌右衛門の大内左衛門秀丸、二代目中村芝翫の佐竹新十郎","titleEn":"The Actors Seki Sanjuro II as Ishizuka Jinzaburo, Nakamura Utaemon III as Ouchi Saemon Hidemaru and Nakamura Shikan II as Satake Shinjuro","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/08843/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08843_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08843_02.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/08843_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/08843_02.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"contributor":["青陽斎春子、春曙斎北頂、春暁斎北晴","Seiyosai Shunshi, Shunshosai Hokucho, Shungyosai Hokusei"],"temporal":["文政10年（1827）","1827 (Bunsei 10)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"721"},"tfam_art_db-0-s":"8843","tfam_art_db-1-s":"青陽斎春子、春曙斎北頂、春暁斎北晴","tfam_art_db-2-s":"Seiyosai Shunshi, Shunshosai Hokucho, Shungyosai Hokusei","tfam_art_db-3-s":"せいようさいしゅんし、しゅんしょさいほくちょう、しゅんぎょうさいほくせい","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"春子は、文政9年から11年（1826−1828）頃に活躍した上方の浮世絵師。北洲の門人と思われ、同じ門下の北頂、北晴との合作が知られている。作品数はあまり多くない寡作の絵師である。北頂は、文政5年から13年（1822−1830）頃にかけて活躍した上方の浮世絵師。北洲の門人で、北英に続く作品を残しており、力量も北英と肩を並べる。複数枚で構成された続絵を得意としていた。北晴は、文政9年から10年（1826−1827）頃に活躍した上方の浮世絵師。北洲の門人で、作品数はあまり多くない寡作の絵師である。","tfam_art_db-10-s":"二代目関三十郎の石塚甚三郎、三代目中村歌右衛門の大内左衛門秀丸、二代目中村芝翫の佐竹新十郎","tfam_art_db-11-s":"The Actors Seki Sanjuro II as Ishizuka Jinzaburo, Nakamura Utaemon III as Ouchi Saemon Hidemaru and Nakamura Shikan II as Satake Shinjuro","tfam_art_db-13-s":"1","tfam_art_db-14-s":"文政10年（1827）","tfam_art_db-15-s":"1827 (Bunsei 10)","tfam_art_db-16-s":"木版多色刷　大判錦絵三枚続の右","tfam_art_db-17-s":"Color woodblock print on paper (triptych)","tfam_art_db-18-s":"39.3×27.3cm","tfam_art_db-19-s":"39.3 x 27.3 cm","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/08843/","tfam_art_db-24-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/08843_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/08843_02.jpg.webp"],"tfam_art_db-25-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08843_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08843_02.jpg.webp"]},{"id":"tfam_art_db-9035","common":{"id":"tfam_art_db-9035","title":"三代目岩井粂三郎の高尾、五代目坂東彦三郎のよりかね","titleEn":"The Actors Iwai Kumesaburo III as Takao and Bando Hikosaburo V as Yorikane","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/09035/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/09035_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/09035_02.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/09035_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/09035_02.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"「伊達家の三代藩主・伊達綱宗が吉原の高尾太夫に魂を奪われ、廓での遊蕩にふけって隠居させられた。これはお家乗っ取りをたくらむ家老原田甲斐と黒幕である伊達兵部ら一味の仕掛けによるものであった」。江戸時代前期に伊達氏の仙台藩で起こったお家騒動、いわゆる「伊達騒動」について、巷ではこのような物語がつくられ、歌舞伎でもそのような筋書きでたびたび上演された。ただし同時代の事件などは題材とすることが禁止されていたため、ここでは鎌倉時代の物語とされている。本図は、吉原に入り浸っていた足利頼兼（伊達綱宗）が、恋する高尾太夫が自分を裏切ったのではないかとの疑いを抱いて問いただしている場面である。","contributor":["歌川国貞","Utagawa Kunisada"],"temporal":["文久元年（1861）","1861 (Bunkyu 1)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"289"},"tfam_art_db-0-s":"9035","tfam_art_db-1-s":"歌川国貞","tfam_art_db-2-s":"Utagawa Kunisada","tfam_art_db-3-s":"うたがわくにさだ","tfam_art_db-4-s":"天明6（1786）-元治1（1864）","tfam_art_db-5-s":"1786-1864","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"幼くから画才に恵まれ、10代半ばで初代歌川豊国の門をくぐる。22歳頃、画壇に登場し、美人画・役者絵を手がける。一雄斎、五渡亭、香蝶楼、喜翁など多くの画号を用い、五渡亭時代に《当世三十弐相》など代表作を残す。師豊国が没し、弘化元年（1844）、正式に「二代目豊国」を襲名（現代では三代とする）。「役者絵の豊国（三代）」との世評を確立し、生涯で残した作品数では他の浮世絵師の中でも最大級の数を誇る。","tfam_art_db-10-s":"三代目岩井粂三郎の高尾、五代目坂東彦三郎のよりかね","tfam_art_db-11-s":"The Actors Iwai Kumesaburo III as Takao and Bando Hikosaburo V as Yorikane","tfam_art_db-13-s":"1","tfam_art_db-14-s":"文久元年（1861）","tfam_art_db-15-s":"1861 (Bunkyu 1)","tfam_art_db-16-s":"木版多色刷　大判錦絵二枚続の右","tfam_art_db-17-s":"Color woodblock print on paper (diptych)","tfam_art_db-18-s":"35.4×24.4cm","tfam_art_db-19-s":"35.4 x 24.4 cm","tfam_art_db-20-s":"「伊達家の三代藩主・伊達綱宗が吉原の高尾太夫に魂を奪われ、廓での遊蕩にふけって隠居させられた。これはお家乗っ取りをたくらむ家老原田甲斐と黒幕である伊達兵部ら一味の仕掛けによるものであった」。江戸時代前期に伊達氏の仙台藩で起こったお家騒動、いわゆる「伊達騒動」について、巷ではこのような物語がつくられ、歌舞伎でもそのような筋書きでたびたび上演された。ただし同時代の事件などは題材とすることが禁止されていたため、ここでは鎌倉時代の物語とされている。本図は、吉原に入り浸っていた足利頼兼（伊達綱宗）が、恋する高尾太夫が自分を裏切ったのではないかとの疑いを抱いて問いただしている場面である。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/09035/","tfam_art_db-24-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/09035_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/09035_02.jpg.webp"],"tfam_art_db-25-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/09035_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/09035_02.jpg.webp"]},{"id":"gakugei_archive-EP20000896","common":{"id":"gakugei_archive-EP20000896","title":"女要珠文庫","titleYomi":"ジョヨウ タマブンコ","lastUpdatedDate":1774578964208,"linkUrl":"https://d-archive.u-gakugei.ac.jp/item/EP20000896","thumbnailUrl":["https://d-archive.u-gakugei.ac.jp/iiif/2/library%2FEP20000896%2F00001.tif/full/220,/0/default.jpg"],"iiifUrl":"https://d-archive.u-gakugei.ac.jp/iiif/item/EP20000896/manifest.json","contentsType":"image","contentsRightsType":"pdm","contentsAccess":"internet","category":["official","book","humanities","cultural"],"contributor":["寺田與右衛門"],"temporal":["江戸時代"],"provider":"東京学芸大学附属図書館","providerUrl":"https://lib.u-gakugei.ac.jp/","ownerOrg":"u_gakugei","database":"gakugei_archive","apiType":"ok","subCategory":["教育","大学"],"access":"PUBLIC","dclass":"911"},"gakugei_archive-3-s":"女要珠文庫","gakugei_archive-5-s":"jpn","gakugei_archive-14-s":"享保6[跋]","gakugei_archive-15-s":"1721","gakugei_archive-20-s":"大本（26糎）","gakugei_archive-23-s":"(内容)女実語教/短冊百人一首/湖月女文章/女用文章/身持行儀のおしへ/女言葉つかゐ/幕縫様の事並図/長生養性訓/風流文字人形/当世櫛ひいなかた/男女相生の歌/六体いろは","gakugei_archive-24-s":"寺田與右衛門","gakugei_archive-43-s":"江戸時代","gakugei_archive-47-s":"望月文庫（東京学芸大学附属図書館）","gakugei_archive-49-s":"ジョヨウ タマブンコ","gakugei_archive-50-s":"joyo tamabunko","gakugei_archive-59-s":"往来物","gakugei_archive-62-s":"Creative Commons CC0 1.0 Universal","gakugei_archive-69-s":["往来物","教科書"],"gakugei_archive-71-s":"附属図書館","gakugei_archive-82-u":"https://d-archive.u-gakugei.ac.jp/item/EP20000896","gakugei_archive-83-u":"https://d-archive.u-gakugei.ac.jp/iiif/2/library%2FEP20000896%2F00001.tif/full/220,/0/default.jpg","gakugei_archive-84-u":"https://d-archive.u-gakugei.ac.jp/iiif/item/EP20000896/manifest.json","gakugei_archive-85-u":"https://lib.u-gakugei.ac.jp/","gakugei_archive-86-s":"東京学芸大学附属図書館","gakugei_archive-87-c":"pdm"},{"id":"tfam_art_db-661","common":{"id":"tfam_art_db-661","title":"武蔵野図屏風（田家秋景）","titleEn":"Folding Screen with Design of Musashino Plain (Autumn View of Countryside)","titleYomi":"むさしのずびょうぶ　でんかしゅうけい","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/00661/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00661_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00661_02.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/00661_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/00661_02.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"武蔵野図は近世初期のやまと絵系諸画派に好まれた画題で、一般に風情あふれる武蔵野の原野を描いたものを指す。武蔵野は古く『万葉集』や『伊勢物語』にもその名が見え、見渡すかぎりの草叢が広がっていたと想像される。本図は江戸時代に同図が定型化していく前の段階にある作品である。月と秋草の図は古くは平安時代より愛好されたテーマの一つ。芒の群生の中に、朝顔、桔梗、野菊などの花が姿を見せ、右隻には釣屋、左隻には農家の屋根も見える。","contributor":["作者不詳","Artist Unknown"],"temporal":["江戸時代前期-中期（17世紀後半-18世紀）","Early-Mid Edo Period (late 17th c. - 18th c.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"tfam_art_db-0-s":"661","tfam_art_db-1-s":"作者不詳","tfam_art_db-2-s":"Artist Unknown","tfam_art_db-3-s":"さくしゃふしょう","tfam_art_db-10-s":"武蔵野図屏風（田家秋景）","tfam_art_db-11-s":"Folding Screen with Design of Musashino Plain (Autumn View of Countryside)","tfam_art_db-12-s":"むさしのずびょうぶ　でんかしゅうけい","tfam_art_db-13-s":"2","tfam_art_db-14-s":"江戸時代前期-中期（17世紀後半-18世紀）","tfam_art_db-15-s":"Early-Mid Edo Period (late 17th c. - 18th c.)","tfam_art_db-16-s":"紙本金地着色　屏風装（六曲一双）","tfam_art_db-17-s":"Color on gold-leaf paper, pair of six-fold screens","tfam_art_db-18-s":"159.0×339.0cm（各）","tfam_art_db-19-s":"159.0 x 339.0 cm (each)","tfam_art_db-20-s":"武蔵野図は近世初期のやまと絵系諸画派に好まれた画題で、一般に風情あふれる武蔵野の原野を描いたものを指す。武蔵野は古く『万葉集』や『伊勢物語』にもその名が見え、見渡すかぎりの草叢が広がっていたと想像される。本図は江戸時代に同図が定型化していく前の段階にある作品である。月と秋草の図は古くは平安時代より愛好されたテーマの一つ。芒の群生の中に、朝顔、桔梗、野菊などの花が姿を見せ、右隻には釣屋、左隻には農家の屋根も見える。","tfam_art_db-22-s":"日本画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/00661/","tfam_art_db-24-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/00661_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/00661_02.jpg.webp"],"tfam_art_db-25-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00661_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00661_02.jpg.webp"]},{"id":"tfam_art_db-7399","common":{"id":"tfam_art_db-7399","title":"［重要美術品］宸翰 古歌御色紙","titleEn":"[Important Art Object] Imperial Ancient Poetry on a Square Cardboard","titleYomi":"［じゅうようびじゅつひん］しんかん こかごしきし","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/07399/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07399.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/07399.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"上下二段に割った色紙に金銀泥で肥痩のある流麗な書体で『源氏物語』にある和歌を散らし書きにしている。後陽成天皇の筆による帚木の巻にある男女が詠み交わす和歌の書写。［解読文］「琴のねも　月もえ　ならぬ　宿ながら　つれなき　人を引や　とめける」「こがらし　に　吹きあわす　める　笛の音を　ひき　とどむべき　ことの葉ぞ　なき」［書き下し文・現代表記］「琴の音も月もえならぬ宿ながらつれなき人を引きやとめける」「こがらしに吹きあわすめる笛の音をひきとどむべきことの葉ぞなき」","contributor":["後陽成天皇","Emperor Go-yozei"],"temporal":["桃山時代（16世紀）","Momoyama Period (16th c.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["書跡"],"temporal":["安土桃山時代"],"spatial":["日本"]},"tfam_art_db-0-s":"7399","tfam_art_db-1-s":"後陽成天皇","tfam_art_db-2-s":"Emperor Go-yozei","tfam_art_db-3-s":"ごようぜいてんのう","tfam_art_db-4-s":"元亀2（1571）-元和3（1617）","tfam_art_db-5-s":"1571-1617","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"第107代天皇（在位1586-1611）。祖父にあたる正親町（おおぎまち）天皇から位を継ぎ、豊臣秀吉、徳川家康の時代に朝廷の尊厳の回復に努めた。能筆としても知られ、学問を好み、木製活字を作らせいわゆる慶長勅版を刊行するなど文芸復興に貢献した。","tfam_art_db-9-s":"The 107th Emperor, reigning between 1586 and 1611. He inherited the throne from his uncle, Emperor Ogimachi, and sought to reclaim the dignity of the court during the time of Toyotomi Hideyoshi and Tokugawa Ieyasu. He was known to be a skilled calligrapher and a lover of study. He contributed to culture and art through the encouragement of woodblock printing, and was instrumental in the publishing of Keicho Chokuhan.","tfam_art_db-10-s":"［重要美術品］宸翰 古歌御色紙","tfam_art_db-11-s":"[Important Art Object] Imperial Ancient Poetry on a Square Cardboard","tfam_art_db-12-s":"［じゅうようびじゅつひん］しんかん こかごしきし","tfam_art_db-13-s":"1","tfam_art_db-14-s":"桃山時代（16世紀）","tfam_art_db-15-s":"Momoyama Period (16th c.)","tfam_art_db-16-s":"紙本墨書　軸装","tfam_art_db-17-s":"Ink on paper, hanging scroll","tfam_art_db-18-s":"21.0×18.2cm","tfam_art_db-19-s":"21.0 x 18.2 cm","tfam_art_db-20-s":"上下二段に割った色紙に金銀泥で肥痩のある流麗な書体で『源氏物語』にある和歌を散らし書きにしている。後陽成天皇の筆による帚木の巻にある男女が詠み交わす和歌の書写。［解読文］「琴のねも　月もえ　ならぬ　宿ながら　つれなき　人を引や　とめける」「こがらし　に　吹きあわす　める　笛の音を　ひき　とどむべき　ことの葉ぞ　なき」［書き下し文・現代表記］「琴の音も月もえならぬ宿ながらつれなき人を引きやとめける」「こがらしに吹きあわすめる笛の音をひきとどむべきことの葉ぞなき」","tfam_art_db-21-s":"Gold and silver paint on colored paper, graceful bold and thin brushwork. A waka from the Tale of Genji is written in the chirashi gaki (“scattered”) style. It is a transcription made by Emperor Go-Yozei of an exchange of poems between a man and woman in the Hahakigi chapter of the tale.“Your home has failed to make a person – a heartless person – stay, even with the outstanding sound of your koto and the view of the moon.”“The sound of your flute comes as the sound of a cold wind; when it is as cold as this how could I stop you leaving with my poor koto music or my words”.","tfam_art_db-22-s":"書跡","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/07399/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/07399.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07399.jpg.webp"},{"id":"tfam_art_db-6514","common":{"id":"tfam_art_db-6514","title":"三保松原図","titleEn":"Miho-Matsubara","titleYomi":"みほのまつばらず","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/06514/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/06514.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/06514.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"謡曲「羽衣」で名高い三保松原は、絵画の画題としても多く描かれてきた。手前に白砂青松、背景に富士を見る構図は今も残されている絶景といえる。この伝統的画題を雅邦は自身の近代的な感性で昇華し、輪郭線を一切排除するとともに、着彩は必要最低限にとどめ、空気遠近法を意識するかのように、前景・中景・遠景と徐々に霞んでいく様を描き、空間を表現している。箱書きには川合玉堂の手によって題字がなされ、大正6年（1917）4月に雅邦の三男である秀邦によって認められた添状が付けられていることから雅邦没後も大切にされた作品であったと推察される。","contributor":["橋本雅邦","Hashimoto Gaho"],"temporal":["明治35年（1902）頃","c. 1902"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"375"},"rdfindex":{"type":["絵画"],"temporal":["朝鮮・李氏朝鮮時代","明治","中国・清時代"],"spatial":["日本"]},"tfam_art_db-0-s":"6514","tfam_art_db-1-s":"橋本雅邦","tfam_art_db-2-s":"Hashimoto Gaho","tfam_art_db-3-s":"はしもとがほう","tfam_art_db-4-s":"天保6（1835）-明治41（1908）","tfam_art_db-5-s":"1835-1908","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"江戸に生まれる。父橋本養邦に狩野派の技法を学び、13歳で狩野雅信に師事。塾頭として活躍し、26歳で独立。後、アーネスト・フェノロサ、岡倉天心と知遇を得、明治21年（1888）に設立された東京美術学校に奉職。指導教官として横山大観をはじめ多く逸材を育てた。同31年（1898）に東京美術学校騒動で天心とともに下野し、日本美術院主幹となる。「近代日本画の育ての親」とも呼ばれる。","tfam_art_db-9-s":"Born in Edo, Hashimoto Gaho learned the painting techniques of the Kano school from his father Hashimoto Osakuni , and at just thirteen years of age became a student of Kano Tadanobu. He was known to be the most gifted student of his studio, and became an independent painter at twenty-six. Later he was introduced to Ernest Fenollosa, an American art historian who specialized in Japanese art, and Okakura Tenshin, which led to him taking up a position at the Tokyo School of Fine Arts which was founded in 1888. As an instructor there he educated many talented artists such as Yokoyama Taikan. In 1898, he stepped down from this post together with Tenshin as a result of tensions in the school, and became an executive member of the Japan Art Academy. He is referred to as the father of modern Japanese-style painting.","tfam_art_db-10-s":"三保松原図","tfam_art_db-11-s":"Miho-Matsubara","tfam_art_db-12-s":"みほのまつばらず","tfam_art_db-13-s":"1","tfam_art_db-14-s":"明治35年（1902）頃","tfam_art_db-15-s":"c. 1902","tfam_art_db-16-s":"絹本墨画淡彩　軸装","tfam_art_db-17-s":"Ink and light color on silk, hanging scroll","tfam_art_db-18-s":"143.5×68.8cm","tfam_art_db-19-s":"143.5 x 68.8 cm","tfam_art_db-20-s":"謡曲「羽衣」で名高い三保松原は、絵画の画題としても多く描かれてきた。手前に白砂青松、背景に富士を見る構図は今も残されている絶景といえる。この伝統的画題を雅邦は自身の近代的な感性で昇華し、輪郭線を一切排除するとともに、着彩は必要最低限にとどめ、空気遠近法を意識するかのように、前景・中景・遠景と徐々に霞んでいく様を描き、空間を表現している。箱書きには川合玉堂の手によって題字がなされ、大正6年（1917）4月に雅邦の三男である秀邦によって認められた添状が付けられていることから雅邦没後も大切にされた作品であったと推察される。","tfam_art_db-21-s":"Famous from the Noh piece Hagoromo, Miho-Matsubara is a popular theme for painting, and its exquisite view of white sand and green pine trees in the foreground and Mount Fuji in the background remains to this day. Hashimoto Gaho sublimated this traditional motif with his modern sensitivity, eradicating every outline and keeping color to a minimum. As if conscious of aerial perspective he expresses the space in gradual blur from the foreground to the middle and away into the distance.","tfam_art_db-22-s":"日本画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/06514/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/06514.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/06514.jpg.webp"},{"id":"tfam_art_db-3995","common":{"id":"tfam_art_db-3995","title":"紅葉に鹿漆絵丸盆","titleEn":"Round Tray with Lacquer Painting of Deer and Autumn Leaves","titleYomi":"もみじにしかうるしえまるぼん","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/03995/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/03995.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/03995.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"temporal":["江戸時代前期-中期（17-18世紀）","Early-Mid Edo Period (17-18th c.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"752"},"rdfindex":{"type":["漆工"],"temporal":["江戸時代"]},"tfam_art_db-0-s":"3995","tfam_art_db-10-s":"紅葉に鹿漆絵丸盆","tfam_art_db-11-s":"Round Tray with Lacquer Painting of Deer and Autumn Leaves","tfam_art_db-12-s":"もみじにしかうるしえまるぼん","tfam_art_db-13-s":"1","tfam_art_db-14-s":"江戸時代前期-中期（17-18世紀）","tfam_art_db-15-s":"Early-Mid Edo Period (17-18th c.)","tfam_art_db-16-s":"木製漆塗","tfam_art_db-17-s":"Lacquered wood","tfam_art_db-18-s":"高7.3cm、径35.8cm","tfam_art_db-19-s":"H 7.3 cm, Dia. 35.8 cm","tfam_art_db-22-s":"漆工","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/03995/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/03995.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/03995.jpg.webp"},{"id":"tfam_art_db-7608","common":{"id":"tfam_art_db-7608","title":"太刀　銘　則房","titleEn":"Tachi: Signed ‘Norifusa’","titleYomi":"たち　めい　のりふさ","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/07608/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07608.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/07608.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"本作は、鎬造（しのぎづくり）、庵棟（いおりむね）、磨上（すりあ）げながら反（そ）りやや高く中峰（ちゅうきっさき）。鍛えは板目肌流れてやや肌立つ。刃文は丁字（ちょうじ）に小乱（こみだ）れ、互（ぐ）の目（め）交じり、砂流（すなが）し、足入（あしい）り小沸（こにえ）つく。帽子（ぼうし）は先小丸（さきこまる）。茎（なかご）は磨上（すりあ）げ、鑢目（やすりめ）勝手下がり、目釘孔（めくぎあな）２個、茎先（なかごさき）目釘孔の下に則房（房の字半分切れる）の二字がある。","contributor":["則房","Norifusa"],"temporal":["備前　鎌倉時代中期（13世紀）","Bizen Province, Mid-Kamakura Period (13th C.)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"913"},"rdfindex":{"type":["刀剣"],"temporal":["1201～1300年"],"spatial":["日本"]},"tfam_art_db-0-s":"7608","tfam_art_db-1-s":"則房","tfam_art_db-2-s":"Norifusa","tfam_art_db-3-s":"のりふさ","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"平安時代に興（おこ）った古備前派ののち、福岡の地に移り鎌倉時代初期から鎌倉時代中期に栄えたのが福岡一文字。片山一文字は、福岡一文字派刀工の一人、則房が片山（この片山は備前国か備中国の二説あり）の地に移り住んで鍛刀したことからこの名がついた。この派の作風は、地鉄（じがね）が強く冴え、丁字（ちょうじ）乱れが福岡一文字派に比して小規模となり、乱れが逆がかり、刃中（はちゅう）の足が細かいところなどにある。","tfam_art_db-10-s":"太刀　銘　則房","tfam_art_db-11-s":"Tachi: Signed ‘Norifusa’","tfam_art_db-12-s":"たち　めい　のりふさ","tfam_art_db-13-s":"1","tfam_art_db-14-s":"備前　鎌倉時代中期（13世紀）","tfam_art_db-15-s":"Bizen Province, Mid-Kamakura Period (13th C.)","tfam_art_db-16-s":"鉄、鍛造","tfam_art_db-17-s":"Iron, forged","tfam_art_db-18-s":"刃長69.1cm、反り1.8cm","tfam_art_db-19-s":"Blade length 69.1 cm, Sori (curvature) 1.8 cm","tfam_art_db-20-s":"本作は、鎬造（しのぎづくり）、庵棟（いおりむね）、磨上（すりあ）げながら反（そ）りやや高く中峰（ちゅうきっさき）。鍛えは板目肌流れてやや肌立つ。刃文は丁字（ちょうじ）に小乱（こみだ）れ、互（ぐ）の目（め）交じり、砂流（すなが）し、足入（あしい）り小沸（こにえ）つく。帽子（ぼうし）は先小丸（さきこまる）。茎（なかご）は磨上（すりあ）げ、鑢目（やすりめ）勝手下がり、目釘孔（めくぎあな）２個、茎先（なかごさき）目釘孔の下に則房（房の字半分切れる）の二字がある。","tfam_art_db-22-s":"刀剣","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/07608/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/07608.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07608.jpg.webp"},{"id":"keioobjecthub-1924","common":{"id":"keioobjecthub-1924","title":"山路桐蒔絵文箱","titleEn":"Letter Box with Mountain-Path and Paulownia in Makie","titleYomi":"ヤマジキリマキエフバコ","lastUpdatedDate":1665414000000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1924","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14996_14996.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14996_14996.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1924/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"山路文は文字通り山道のようなジグザグの幾何学紋様。この文箱のように、山路文に桐や菊を組み合わせるデザインは桃山時代に好まれたものであり、この時代の唐織（からおり・中国風のきらびやかな絹織物）の能装束などに類例が見られる。\n","descriptionEn":"The zigzag geometrical pattern seen here is called the “mountain path” design due to its similarity to a real mountain path. Popular during the Momoyama Period, the pattern was often used in combination with paulownia or chrysanthemum motifs. The same motifs were used in Chinese-style silk brocades and Noh costumes also made during the era.\n","temporal":["AD16"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"750"},"rdfindex":{"type":["芸術・美術"],"temporal":["1501～1600年"]},"keioobjecthub-0-s":"1924","keioobjecthub-1-s":"山路桐蒔絵文箱","keioobjecthub-2-s":"Letter Box with Mountain-Path and Paulownia in Makie","keioobjecthub-3-s":"ヤマジキリマキエフバコ","keioobjecthub-4-d":"2022/10/11","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1924","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14996_14996.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1924/2.1/manifest.json","keioobjecthub-13-s":"AD16","keioobjecthub-15-gs":"山路文は文字通り山道のようなジグザグの幾何学紋様。この文箱のように、山路文に桐や菊を組み合わせるデザインは桃山時代に好まれたものであり、この時代の唐織（からおり・中国風のきらびやかな絹織物）の能装束などに類例が見られる。\n","keioobjecthub-16-gs":"The zigzag geometrical pattern seen here is called the “mountain path” design due to its similarity to a real mountain path. Popular during the Momoyama Period, the pattern was often used in combination with paulownia or chrysanthemum motifs. The same motifs were used in Chinese-style silk brocades and Noh costumes also made during the era.\n","keioobjecthub-17-s":"慶應義塾ミュージアム・コモンズ","keioobjecthub-18-u":"https://jpsearch.go.jp/organization/keiokemco","keioobjecthub-19-s":"制作年:AD16","keioobjecthub-23-s":"木製、漆塗、蒔絵","keioobjecthub-24-s":"AW-CEN-001188-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-31-s":"\n箱書\n外箱蓋表「高台寺蒔絵／短冊箱／桃山時代」。","keioobjecthub-32-s":"ミュージアム・コモンズ"},{"id":"tfam_art_db-1352","common":{"id":"tfam_art_db-1352","title":"四代目嵐小六の伊勢ノぢじう、二代目嵐橘三郎の小野ノ篁","titleEn":"The Actors Arashi Koroku IV  as Ise no Jiju and Arashi Kitsusaburo II as Ono no Takamura","titleYomi":"あらしころくのいせのぢじう　あらしきつさぶろうのおののたかむら","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01352/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01352_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01352_02.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01352_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/01352_02.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"contributor":["戯画堂芦ゆき","Gigado Ashiyuki"],"temporal":["文政7年（1824）","1824 (Bunsei 7)"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"721"},"tfam_art_db-0-s":"1352","tfam_art_db-1-s":"戯画堂芦ゆき","tfam_art_db-2-s":"Gigado Ashiyuki","tfam_art_db-3-s":"ぎがどうあしゆき","tfam_art_db-4-s":"作画期：文化10（1813）-天保4（1833）","tfam_art_db-5-s":"fl. 1813-1833","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"文化10年（1813）頃から天保6年（1835）頃まで上方で活躍した浮世絵師。はじめ有楽斎長秀の門人として絵を学び、のちに浅山芦国の門人となった。役者の表情やしぐさなどの大胆な表現に優れた手腕を発揮し、よし国や国広とともに、文政年間（1818−1830）の上方浮世絵の中心を担った。門人に幸国がいる。","tfam_art_db-10-s":"四代目嵐小六の伊勢ノぢじう、二代目嵐橘三郎の小野ノ篁","tfam_art_db-11-s":"The Actors Arashi Koroku IV  as Ise no Jiju and Arashi Kitsusaburo II as Ono no Takamura","tfam_art_db-12-s":"あらしころくのいせのぢじう　あらしきつさぶろうのおののたかむら","tfam_art_db-13-s":"1","tfam_art_db-14-s":"文政7年（1824）","tfam_art_db-15-s":"1824 (Bunsei 7)","tfam_art_db-16-s":"木版多色刷　大判錦絵二枚続の右","tfam_art_db-17-s":"Color woodblock print on paper (diptych)","tfam_art_db-18-s":"39.5×27.0cm","tfam_art_db-19-s":"39.5 x 27.0 cm","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01352/","tfam_art_db-24-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01352_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/01352_02.jpg.webp"],"tfam_art_db-25-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01352_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01352_02.jpg.webp"]},{"id":"keioobjecthub-423","common":{"id":"keioobjecthub-423","title":"烏丸光広筆書状","titleEn":"Letter by Karasumaru Mitsuhiro","titleYomi":"カラスマルミツヒロヒツショジョウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/423","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12574_12574.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12574_12574.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/423/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"烏丸光広〈からすまるみつひろ・1579-1638〉は公卿・歌人。少年時代より能書の聞こえが高く、11歳で早くも右少弁に任ぜられた。正二位・権大納言。書は持明院流（じみょういんりゅう）に入門したが、のち光悦流の影響を受け、同時に上代様（じょうだいよう）も好んだ。「寛永の三筆」と併称される能書である。宛名は不明であるものの、文意より、光広が平素から歌書などを写本するにあたり、その原本を借りていた人物が想定される。この手紙も、日頃の好意に感謝しつつ、このたび借用の書物を一日も早く写し終えて返戻する旨を綴る。「不定世界候。やがて花のころになり」の文言から、某年の初春のころと推定される。なお、「乃刻（だいこく）」とは即刻、すぐさまの意。すなわち歌書を届けた使者を待たせたままにしたためたものとわかる。「書中披見申し候。種々の無心、祝着此の事に候。書立写し、返入せしめ候。不定世界に候。やがて花の頃になり候。かしく。乃刻光広」","descriptionEn":"Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.One cannot readily identify this letter’s addressee, but from its content, the person should be someone from whom Mitsuhiro would have been able to borrow an original edition of the poetry collection that he was transcribing. In the letter, Mitsuhiro gives thanks for the many favors he has received and writes that he will return the borrowed book as soon as possible. The letter also mentions that “the flowering season can’t be far away”, so it was likely written in early spring, perhaps immediately after his receiving the book, keeping the messenger who delivered it waiting for the reply.","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"423","keioobjecthub-1-s":"烏丸光広筆書状","keioobjecthub-2-s":"Letter by Karasumaru Mitsuhiro","keioobjecthub-3-s":"カラスマルミツヒロヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/423","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12574_12574.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/423/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-15-gs":"烏丸光広〈からすまるみつひろ・1579-1638〉は公卿・歌人。少年時代より能書の聞こえが高く、11歳で早くも右少弁に任ぜられた。正二位・権大納言。書は持明院流（じみょういんりゅう）に入門したが、のち光悦流の影響を受け、同時に上代様（じょうだいよう）も好んだ。「寛永の三筆」と併称される能書である。宛名は不明であるものの、文意より、光広が平素から歌書などを写本するにあたり、その原本を借りていた人物が想定される。この手紙も、日頃の好意に感謝しつつ、このたび借用の書物を一日も早く写し終えて返戻する旨を綴る。「不定世界候。やがて花のころになり」の文言から、某年の初春のころと推定される。なお、「乃刻（だいこく）」とは即刻、すぐさまの意。すなわち歌書を届けた使者を待たせたままにしたためたものとわかる。「書中披見申し候。種々の無心、祝着此の事に候。書立写し、返入せしめ候。不定世界に候。やがて花の頃になり候。かしく。乃刻光広」","keioobjecthub-16-gs":"Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.One cannot readily identify this letter’s addressee, but from its content, the person should be someone from whom Mitsuhiro would have been able to borrow an original edition of the poetry collection that he was transcribing. In the letter, Mitsuhiro gives thanks for the many favors he has received and writes that he will return the borrowed book as soon as possible. The letter also mentions that “the flowering season can’t be far away”, so it was likely written in early spring, perhaps immediately after his receiving the book, keeping the messenger who delivered it waiting for the 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