{"list":[{"id":"cobas-53950","common":{"id":"cobas-53950","title":"猫のすゞみ","titleEn":"Cats Enjoying the Evening Cool","titleYomi":"ねこのすずみ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-10569-5470","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-10569-5470/image/slideshow_s/A-10569-5470_E0180286.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-10569-5470/image/slideshow_s/A-10569-5470_E0180286.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>舟を迎える芸者猫の着物には好物のあわびやうなぎ、船頭猫にはこれも好物の蛸が染められ、腰に「又たび」の文字の手拭い、客の猫では、猫に小判。さらに、タイトル「猫のすゞみ」は鰹節で囲まれています。猫好きの国芳が両国橋を背景に描いたユーモアあふれる団扇の絵です。<br /></p><br /><p>　人間のように着物を着た猫が、桟橋に舟を寄せようとしています。出迎えているのも、猫。なんだか不思議な絵ですね。<br />　作者の歌川国芳は、大の猫好きで、擬人化した猫を描いた作品がたくさんあります。この絵の中には、猫にちなんだモチーフが散りばめられていますので、探してみてください。<br />　まず、中央のタイトル「猫のすゞみ」は、縄で束ねられた鰹節で囲まれています。夕涼みの人びとで鈴なりの両国橋をバックに、芸者猫が舟を迎えに出てきました。着物には、猫の好物のあわびやうなぎのもようが見えます。舟をあやつる船頭猫は、腰に「又たび」と染められた手ぬぐいをはさみ、これも猫の好物とされる蛸のもようの浴衣を着ています。舟の中にある提灯にも「又」の文字が見えますから、この船宿は「又たび」という屋号なのかもしれません。一番左、芸者猫に迎えられ、舟から降りようとしている客の猫の浴衣には、うっすらと小判のもようが散らされています。美しい芸者猫と過ごす時間も、猫に小判、ということでしょうか。<br />　国芳の、猫に対する愛情とユーモアがあふれんばかりの一枚です。</p><br /><p>猫好きの国芳が、両国橋を背景に描いたユーモアあふれる団扇の絵です。舟を迎える芸者猫の着物には好物のあわびやうなぎ、船頭猫にはこれも好物の蛸が染められ、腰には「又たび」の文字の手拭い、客の猫は小判柄の浴衣を着ています。さらにタイトルは鰹節で囲まれています。<br /></p>","descriptionEn":"<p>A kimono-clad cat tries to draw a boat towards a jetty. The approaching boat is also manned by cats. This is a strange image, isn’t it?<br /><br />The artist Utagawa Kuniyoshi was a big cat lover and produced many works featuring anthropomorphized felines. The picture is interspersed with food items beloved by cats. How many can you find?<br /><br />Firstly, take a look at the Japanese writing at the top center of the image. This is the title of the work and it is circled by dried bonito tied together with a rope. Just below, Ryogoku Bridge throngs with revelers enjoying the evening cool. In the foreground a courtesan cat has come to meet a boat. Her kimono features abalone and eel motifs. The cat helming the boat is wearing a yukata summer garment with an octopus design. Tucked in the back is a hand towel featuring the Japanese characters for ‘matatabi,’ or silver vine, a plant similar to catnip that cats love. The boat’s lantern also features the characters for ‘mata,’ so perhaps the name of this boathouse is ‘matatabi.’ This work is infused with Kuniyoshi’s affection for our feline friends.</p><br /><p>Three humanlike cats are potrayed here enjoying the evening cool near Ryōgoku Bridge. The geisha cat preparing to board the boat wears a kimono with abalone and eel, while the cat on the boat wears one with an octopus design, all foods that cats enjoy. The artist Kuniyoshi (1797–1861) loved cats and was known for such curious and amusing portrayals.<br /></p>","contributor":["歌川国芳筆","By Utagawa Kuniyoshi (1797–1861)","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・19世紀","Edo period, 19th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"cobas-0-s":"53950","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-10569-5470","cobas-2-s":"A-10569-5470","cobas-4-s":"絵画","cobas-5-s":"猫のすゞみ","cobas-6-s":"ねこのすずみ","cobas-7-s":"1枚","cobas-8-s":"歌川国芳筆","cobas-11-s":"江戸時代・19世紀","cobas-12-s":"団扇絵判　錦絵","cobas-13-s":"縦21.5 横28.9","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>舟を迎える芸者猫の着物には好物のあわびやうなぎ、船頭猫にはこれも好物の蛸が染められ、腰に「又たび」の文字の手拭い、客の猫では、猫に小判。さらに、タイトル「猫のすゞみ」は鰹節で囲まれています。猫好きの国芳が両国橋を背景に描いたユーモアあふれる団扇の絵です。<br /></p><br /><p>　人間のように着物を着た猫が、桟橋に舟を寄せようとしています。出迎えているのも、猫。なんだか不思議な絵ですね。<br />　作者の歌川国芳は、大の猫好きで、擬人化した猫を描いた作品がたくさんあります。この絵の中には、猫にちなんだモチーフが散りばめられていますので、探してみてください。<br />　まず、中央のタイトル「猫のすゞみ」は、縄で束ねられた鰹節で囲まれています。夕涼みの人びとで鈴なりの両国橋をバックに、芸者猫が舟を迎えに出てきました。着物には、猫の好物のあわびやうなぎのもようが見えます。舟をあやつる船頭猫は、腰に「又たび」と染められた手ぬぐいをはさみ、これも猫の好物とされる蛸のもようの浴衣を着ています。舟の中にある提灯にも「又」の文字が見えますから、この船宿は「又たび」という屋号なのかもしれません。一番左、芸者猫に迎えられ、舟から降りようとしている客の猫の浴衣には、うっすらと小判のもようが散らされています。美しい芸者猫と過ごす時間も、猫に小判、ということでしょうか。<br />　国芳の、猫に対する愛情とユーモアがあふれんばかりの一枚です。</p><br /><p>猫好きの国芳が、両国橋を背景に描いたユーモアあふれる団扇の絵です。舟を迎える芸者猫の着物には好物のあわびやうなぎ、船頭猫にはこれも好物の蛸が染められ、腰には「又たび」の文字の手拭い、客の猫は小判柄の浴衣を着ています。さらにタイトルは鰹節で囲まれています。<br /></p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-10569-5470/image/slideshow_s/A-10569-5470_E0180286.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"26818","cobas-22-s":"53950","cobas-23-s":"178853","cobas-29-s":"絵画:日本:浮世絵","cobas-31-s":"Painting","cobas-32-s":"Cats Enjoying the Evening Cool","cobas-34-s":"By Utagawa Kuniyoshi (1797–1861)","cobas-37-s":"Edo period, 19th century","cobas-38-s":"Woodblock print ([nishiki-e])","cobas-42-s":"Tokyo National Museum","cobas-43-h":"<p>A kimono-clad cat tries to draw a boat towards a jetty. The approaching boat is also manned by cats. This is a strange image, isn’t it?<br /><br />The artist Utagawa Kuniyoshi was a big cat lover and produced many works featuring anthropomorphized felines. The picture is interspersed with food items beloved by cats. How many can you find?<br /><br />Firstly, take a look at the Japanese writing at the top center of the image. This is the title of the work and it is circled by dried bonito tied together with a rope. Just below, Ryogoku Bridge throngs with revelers enjoying the evening cool. In the foreground a courtesan cat has come to meet a boat. Her kimono features abalone and eel motifs. The cat helming the boat is wearing a yukata summer garment with an octopus design. Tucked in the back is a hand towel featuring the Japanese characters for ‘matatabi,’ or silver vine, a plant similar to catnip that cats love. The boat’s lantern also features the characters for ‘mata,’ so perhaps the name of this boathouse is ‘matatabi.’ This work is infused with Kuniyoshi’s affection for our feline friends.</p><br /><p>Three humanlike cats are potrayed here enjoying the evening cool near Ryōgoku Bridge. The geisha cat preparing to board the boat wears a kimono with abalone and eel, while the cat on the boat wears one with an octopus design, all foods that cats enjoy. The artist Kuniyoshi (1797–1861) loved cats and was known for such curious and amusing portrayals.<br /></p>","cobas-46-s":"Paintings, sketches, and prints:Japan:Ukiyo-e"},{"id":"cobas-79088","common":{"id":"cobas-79088","title":"褐釉アメリカ地図皿","titleEn":"Dish, Map of the Americas design with brown glaze","titleYomi":"かつゆうあめりかちずさら","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/G-1478","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/G-1478/image/slideshow_s/G-1478_C0072308.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/G-1478/image/slideshow_s/G-1478_C0072308.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>源内焼は現在の香川県さぬき市で焼かれ、志度(しど)焼ともいう。中国の交趾(こうち)焼の技法を取り入れ、世界図・日本図などの地図や西洋風の斬新な意匠に特色がある。平賀源内の指導を受けたとされるが、源内の作陶への関与の実態については不明な部分が多い。<br /></p>","contributor":["源内","Gennai ware","横井時冬氏寄贈","Gift of Mr. Yokoi Tokifuyu","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・18～19世紀","Edo period, 18th-19th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["江戸時代"]},"cobas-0-s":"79088","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/G-1478","cobas-2-s":"G-1478","cobas-4-s":"陶磁","cobas-5-s":"褐釉アメリカ地図皿","cobas-6-s":"かつゆうあめりかちずさら","cobas-7-s":"1枚","cobas-8-s":"源内","cobas-11-s":"江戸時代・18～19世紀","cobas-15-s":"横井時冬氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>源内焼は現在の香川県さぬき市で焼かれ、志度(しど)焼ともいう。中国の交趾(こうち)焼の技法を取り入れ、世界図・日本図などの地図や西洋風の斬新な意匠に特色がある。平賀源内の指導を受けたとされるが、源内の作陶への関与の実態については不明な部分が多い。<br /></p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/G-1478/image/slideshow_s/G-1478_C0072308.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"57461","cobas-22-s":"79088","cobas-31-s":"Ceramics","cobas-32-s":"Dish, Map of the Americas design with brown glaze","cobas-34-s":"Gennai ware","cobas-37-s":"Edo period, 18th-19th century","cobas-41-s":"Gift of Mr. Yokoi Tokifuyu","cobas-42-s":"Tokyo National Museum"},{"id":"cobas-88024","common":{"id":"cobas-88024","title":"帷子 白麻地唐扇藤牡丹菊模様","titleEn":"Summer Kimono (Katabira) with Chinese-Style Fans, Wisterias, Peonies, and Chrysanthemums","titleYomi":"かたびら しろあさじとうせんふじぼたんきくもよう","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/I-4101","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/I-4101/image/slideshow_s/I-4101_C0051258.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/I-4101/image/slideshow_s/I-4101_C0051258.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>牡丹、藤、菊といった四季折々の花の折枝を散らし、その間に唐扇を配した、武家女性の様式的なデザイン。型摺による染と刺繡で模様を表わす。上質な麻地である上布で仕立てた夏の衣料。振袖であるから、結婚前の若い女性が着用したであろう。<br /></p>","descriptionEn":"<p>Made of high-quality ramie fabric, this summer garment was intended for young, unmarried women of the warrior class. The long sleeves reflected the unmarried status of the wearer.<br /></p>","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・19世紀","Edo period, 19th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"594"},"rdfindex":{"type":["染織"],"temporal":["江戸時代"]},"cobas-0-s":"88024","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/I-4101","cobas-2-s":"I-4101","cobas-4-s":"染織","cobas-5-s":"帷子 白麻地唐扇藤牡丹菊模様","cobas-6-s":"かたびら しろあさじとうせんふじぼたんきくもよう","cobas-7-s":"1領","cobas-11-s":"江戸時代・19世紀","cobas-12-s":"麻、描絵、型染、刺繡","cobas-13-s":"丈164.2 裄58.6","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>牡丹、藤、菊といった四季折々の花の折枝を散らし、その間に唐扇を配した、武家女性の様式的なデザイン。型摺による染と刺繡で模様を表わす。上質な麻地である上布で仕立てた夏の衣料。振袖であるから、結婚前の若い女性が着用したであろう。<br /></p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/I-4101/image/slideshow_s/I-4101_C0051258.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"72891","cobas-22-s":"88024","cobas-31-s":"Textiles","cobas-32-s":"Summer Kimono (Katabira) with Chinese-Style Fans, Wisterias, Peonies, and Chrysanthemums","cobas-37-s":"Edo period, 19th century","cobas-38-s":"Ramie with freehand decoration, stencil dyeing, and embroidery","cobas-42-s":"Tokyo National Museum","cobas-43-h":"<p>Made of high-quality ramie fabric, this summer garment was intended for young, unmarried women of the warrior class. The long sleeves reflected the unmarried status of the wearer.<br /></p>"},{"id":"tfam_art_db-4335","common":{"id":"tfam_art_db-4335","title":"東海道五拾三次之内　吉原 左富士","titleEn":"Fifty-three Stations on the Tokaido: Mt. Fuji on the Left near Yoshiwara","titleYomi":"とうかいどうごじゅうさんつぎのうち　よしわら　ひだりふじ","lastUpdatedDate":1777442977978,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/04335/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/04335.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/04335.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"現在の静岡県富士市にあたる。元吉原から吉原へ、田んぼの中を曲がりくねって続く松並木の街道は、富士の姿を左に見ることができ、「左富士」と呼ばれ、皆に親しまれた名所であった。馬に乗る3人の子どものうち、左の2人は眼前に見えてきた富士に気づき、夢中に見つめているが、右端の子どもは居眠りしているのか、頭を右にがっくりと垂れている。松の並木が迫り来るようなリズムを作り出し、画面に何ともいえない臨場感を与えている。","contributor":["歌川広重","Utagawa Hiroshige"],"temporal":["天保4-5年（1833-34）","1833-34 (Tenpo 4-5)"],"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":"291"},"rdfindex":{"type":["版画"],"temporal":["1833～1834年"],"spatial":["日本"]},"tfam_art_db-0-s":"4335","tfam_art_db-1-s":"歌川広重","tfam_art_db-2-s":"Utagawa Hiroshige","tfam_art_db-3-s":"うたがわひろしげ","tfam_art_db-4-s":"寛政9（1797）-安政5（1858）","tfam_art_db-5-s":"1797-1858","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"13歳の時、家督を継ぐと同時に父母を亡くす。15歳で歌川豊広の門に入り、広重と名乗る。師豊広が没し、天保2年（1831）に《東都名所》、翌3年（1832）に代表作ともなる《東海道五拾三次之内》を版行。風景画家として不動の地位を築く。以後、注文が相次ぎ、渓斎英泉と作品を分け合った《木曾海道六拾九次》など、詩情豊かな名所絵を多く手がけた。最晩年、画技を凝縮した《名所江戸百景》を発表し掉尾を飾った。","tfam_art_db-9-s":"At the age of 13, he inherited the family estate and lost his parents at the same time. At 15, he became a disciple of Utagawa Toyohiro, and took on the name Hiroshige. His teacher Toyohiro passed, and Hiroshige published Famous Places in the Eastern Capital in 1831, and the next year in 1832, published The Fifty-three Stations of the Tokaido, which would be his masterpiece. This firmly established his status as a landscape artist. From that point on, he received commissions one after another, and worked on many pictures of famous places, rich in poetic sentiment, including The Sixty-nine Stations of the Kiso Kaido, co-created with Keisai Eisen. In his final years, he released the culmination of his artistic skill, One Hundred Famous Views of Edo, as his last crowning achievement.","tfam_art_db-10-s":"東海道五拾三次之内　吉原 左富士","tfam_art_db-11-s":"Fifty-three Stations on the Tokaido: Mt. Fuji on the Left near Yoshiwara","tfam_art_db-12-s":"とうかいどうごじゅうさんつぎのうち　よしわら　ひだりふじ","tfam_art_db-13-s":"1","tfam_art_db-14-s":"天保4-5年（1833-34）","tfam_art_db-15-s":"1833-34 (Tenpo 4-5)","tfam_art_db-16-s":"木版多色刷　横大判錦絵","tfam_art_db-17-s":"Color woodblock print on paper","tfam_art_db-18-s":"22.6×34.4cm","tfam_art_db-19-s":"22.6 x 34.4 cm","tfam_art_db-20-s":"現在の静岡県富士市にあたる。元吉原から吉原へ、田んぼの中を曲がりくねって続く松並木の街道は、富士の姿を左に見ることができ、「左富士」と呼ばれ、皆に親しまれた名所であった。馬に乗る3人の子どものうち、左の2人は眼前に見えてきた富士に気づき、夢中に見つめているが、右端の子どもは居眠りしているのか、頭を右にがっくりと垂れている。松の並木が迫り来るようなリズムを作り出し、画面に何ともいえない臨場感を与えている。","tfam_art_db-21-s":"A winding road between rice fields leading from Moto (“former”) Yoshiwara to Yoshiwara, with cherry blossoms lining its sides, was a famous viewing spot for the unusual sight of Mount Fuji on the left of the Tokaido. For this reason, it was known as “Left Fuji”. The other place with a similar view was Nango in Chigasaki. In this piece, three children are riding a horse, two of whom are excitedly looking towards the far left to see the silhouette of Mount Fuji showing itself. However, the third child’s head is drooping to the right side, perhaps drifting off to sleep. The portrayal of the scene is sweet and touching. This is now Fuji City, in Shizuoka.","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/04335/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/04335.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/04335.jpg.webp"},{"id":"cobas-160800","common":{"id":"cobas-160800","title":"粉彩唐子文筆筒","titleEn":"Brush Pot with a Scene of Children","titleYomi":"ふんさいからこもんひっとう","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/TG-3038","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/TG-3038/image/slideshow_s/TG-3038_E0028376.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/TG-3038/image/slideshow_s/TG-3038_E0028376.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>大型の白磁胎の筆筒です。筆を挿す筆筒は、机上を飾る文房具としてとくに重視されました。胴部にはヨーロッパの無線七宝の技術をとりいれた粉彩によってあらわされた、賑やかで楽しげな唐子遊びの図が巡ります。書家青山杉雨(1912～93)旧蔵品。</p>","contributor":["中国･景徳鎮窯","Jingdezhen ware, China","青山慶示氏寄贈","Gift of Mr. Aoyama Keiji","東京国立博物館","Tokyo National Museum"],"temporal":["清時代・18～19世紀","Qing dynasty, 18th–19th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["中国・清時代"]},"cobas-0-s":"160800","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/TG-3038","cobas-2-s":"TG-3038","cobas-4-s":"東洋陶磁","cobas-5-s":"粉彩唐子文筆筒","cobas-6-s":"ふんさいからこもんひっとう","cobas-7-s":"1口","cobas-8-s":"中国･景徳鎮窯","cobas-11-s":"清時代・18～19世紀","cobas-12-s":"磁製","cobas-13-s":"高14.5 径20.4","cobas-15-s":"青山慶示氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>大型の白磁胎の筆筒です。筆を挿す筆筒は、机上を飾る文房具としてとくに重視されました。胴部にはヨーロッパの無線七宝の技術をとりいれた粉彩によってあらわされた、賑やかで楽しげな唐子遊びの図が巡ります。書家青山杉雨(1912～93)旧蔵品。</p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/TG-3038/image/slideshow_s/TG-3038_E0028376.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"196809","cobas-22-s":"160800","cobas-31-s":"Asian Ceramics","cobas-32-s":"Brush Pot with a Scene of Children","cobas-34-s":"Jingdezhen ware, China","cobas-37-s":"Qing dynasty, 18th–19th century","cobas-38-s":"Porcelain with famille-rose enamel","cobas-41-s":"Gift of Mr. Aoyama Keiji","cobas-42-s":"Tokyo National Museum"},{"id":"tfam_art_db-8664","common":{"id":"tfam_art_db-8664","title":"五代目市川団蔵の沢井城五郎、二代目嵐橘三郎の佐々木丹右衛門","titleEn":"The Actors Ichikawa Danzo V as Sawai Jogoro and Arashi Kitsusaburo II as Sasaki Tanemon","lastUpdatedDate":1777442977978,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/08664/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08664_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08664_02.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/08664_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/08664_02.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"「伊賀越道中双六」の円覚寺の場面。将軍直参の沢井城五郎は、上杉家の家老和田行家を誅殺した従兄沢井股五郎を円覚寺にかくまう。殺された行家の弟子、佐々木丹右衛門は、股五郎の引き渡しを求めて円覚寺に乗り込んだ。ここに描かれているのは丹右衛門が「正宗の刀の切れ味、お望みならばご相伴なされよ」と凄む場面。交渉の末、股五郎は一旦は引き渡されるが、城五郎は一行を弓矢で待ち伏せして股五郎を奪い返す。致命傷を負った丹右衛門は後の仇討ちを唐木政右衛門に頼るよう、行家の息子志津馬に助言する。","contributor":["戯画堂芦ゆき","Gigado Ashiyuki"],"temporal":["文政９年（1826）","1826 (Bunsei 9)"],"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"},"tfam_art_db-0-s":"8664","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":"五代目市川団蔵の沢井城五郎、二代目嵐橘三郎の佐々木丹右衛門","tfam_art_db-11-s":"The Actors Ichikawa Danzo V as Sawai Jogoro and Arashi Kitsusaburo II as Sasaki Tanemon","tfam_art_db-13-s":"1","tfam_art_db-14-s":"文政９年（1826）","tfam_art_db-15-s":"1826 (Bunsei 9)","tfam_art_db-16-s":"木版多色刷　大判錦絵二枚続の左","tfam_art_db-17-s":"Color woodblock print on paper (diptych)","tfam_art_db-18-s":"38.2×26.5cm","tfam_art_db-19-s":"38.2 x 26.5 cm","tfam_art_db-20-s":"「伊賀越道中双六」の円覚寺の場面。将軍直参の沢井城五郎は、上杉家の家老和田行家を誅殺した従兄沢井股五郎を円覚寺にかくまう。殺された行家の弟子、佐々木丹右衛門は、股五郎の引き渡しを求めて円覚寺に乗り込んだ。ここに描かれているのは丹右衛門が「正宗の刀の切れ味、お望みならばご相伴なされよ」と凄む場面。交渉の末、股五郎は一旦は引き渡されるが、城五郎は一行を弓矢で待ち伏せして股五郎を奪い返す。致命傷を負った丹右衛門は後の仇討ちを唐木政右衛門に頼るよう、行家の息子志津馬に助言する。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/08664/","tfam_art_db-24-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/08664_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/08664_02.jpg.webp"],"tfam_art_db-25-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08664_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08664_02.jpg.webp"]},{"id":"tfam_art_db-8711","common":{"id":"tfam_art_db-8711","title":"二代目嵐富三郎のあつま、坂東重太郎の与五郎、二代目嵐橘三郎の放駒長吉、中山百蔵のさよ七と浅尾額十郎の長五郎","titleEn":"The Actors Arashi Tomisaburo II as Atsuma and Bando Sigetaro as Yogoro,  Arashi Kitsusaburo II as Hanaregoma Chokichi, Nakayama Hyakuzo as Sayoshichi and Asao Gakujuro as Chogoro","lastUpdatedDate":1777442977978,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/08711/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08711_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08711_02.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/08711_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/08711_02.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"「双蝶々曲輪日記」の三段目。濡髪の長五郎と放駒長吉は意地の張り合いの末、姉の仲裁で義兄弟の契りを約す。そこへ長五郎の恩人の息子与五郎と恋人吾妻が襲われているとの報が入り、急ぎ駆け付けて二人を助け出すが、勢い余った長五郎は二人の侍を殺してしまう。そこへ助太刀に来た長吉にあとを頼んで切腹しようとするが、長吉に諭され、しばらく身を隠すことにする。ここでは場面の最後、二人が花道へ下がる際に道を塞いだ駕篭かき二人を始末するところが描かれている。","contributor":["戯画堂芦ゆき、好画堂多美国、寿好堂よし国","Gigado Ashiyuki, Kogado Tamikuni, Jukodo Yoshikuni"],"temporal":["文政６年（1823）","1823 (Bunsei 6)"],"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"},"tfam_art_db-0-s":"8711","tfam_art_db-1-s":"戯画堂芦ゆき、好画堂多美国、寿好堂よし国","tfam_art_db-2-s":"Gigado Ashiyuki, Kogado Tamikuni, Jukodo Yoshikuni","tfam_art_db-3-s":"ぎがどうあしゆき、こうがどうたみくに、じゅこうどうよしくに","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"芦ゆきは、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。多美国は、文政年間（1818−1830）に活躍した上方の浮世絵師。よし国の門人で、舞台上の役者絵のほかに、楽屋での役者の様子を描いた楽屋図なども手がけている。よし国は、文化年間から天保元年（1804−1830）頃に活躍した上方の浮世絵師。芦国の門人と思われる。北洲に次ぐ絵師として、芦ゆきや国広らとともに上方役者絵の普及に貢献した。また狂歌師としても活躍した。門人には政国、梅国、芝国、多美国などがいるが、その多くが狂歌でのよし国とのつながりから、役者絵を手がけるようになった絵師である。","tfam_art_db-10-s":"二代目嵐富三郎のあつま、坂東重太郎の与五郎、二代目嵐橘三郎の放駒長吉、中山百蔵のさよ七と浅尾額十郎の長五郎","tfam_art_db-11-s":"The Actors Arashi Tomisaburo II as Atsuma and Bando Sigetaro as Yogoro,  Arashi Kitsusaburo II as Hanaregoma Chokichi, Nakayama Hyakuzo as Sayoshichi and Asao Gakujuro as Chogoro","tfam_art_db-13-s":"1","tfam_art_db-14-s":"文政６年（1823）","tfam_art_db-15-s":"1823 (Bunsei 6)","tfam_art_db-16-s":"木版多色刷　大判錦絵四枚続の内","tfam_art_db-17-s":"Color woodblock print on paper (tetraptych)","tfam_art_db-18-s":"39.4×25.9cm","tfam_art_db-19-s":"39.4 x 25.9 cm","tfam_art_db-20-s":"「双蝶々曲輪日記」の三段目。濡髪の長五郎と放駒長吉は意地の張り合いの末、姉の仲裁で義兄弟の契りを約す。そこへ長五郎の恩人の息子与五郎と恋人吾妻が襲われているとの報が入り、急ぎ駆け付けて二人を助け出すが、勢い余った長五郎は二人の侍を殺してしまう。そこへ助太刀に来た長吉にあとを頼んで切腹しようとするが、長吉に諭され、しばらく身を隠すことにする。ここでは場面の最後、二人が花道へ下がる際に道を塞いだ駕篭かき二人を始末するところが描かれている。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/08711/","tfam_art_db-24-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/08711_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/08711_02.jpg.webp"],"tfam_art_db-25-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08711_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08711_02.jpg.webp"]},{"id":"cobas-117923","common":{"id":"cobas-117923","title":"鵲尾形柄香炉","titleEn":"Incense Burner with Magpie's Tail-shaped Handle","titleYomi":"じゃくびがたえごうろ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/N-280","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/N-280/image/slideshow_s/N-280_N-280-01.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/N-280/image/slideshow_s/N-280_N-280-01.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>香木を焚いて仏に捧げるため手に持つ道具です。聖徳太子に仏教の哲学を教えた僧、慧慈法師（えじほうし）が用いたものとして伝わりました。慧慈法師は朝鮮半島の北部に栄えた高句麗（こうくり）から渡来した僧侶で、飛鳥時代前期における仏教文化の中心的な存在でした。<br />この作品は真鍮（しんちゅう）を打ち出して作られたもので、表面に金メッキが施されています。当時、真鍮はペルシャの特産品として知られ、中国では４世紀以降、真鍮に関する記述が残されています。わが国ではこの柄香炉をはじめ、正倉院宝物にいくつか使用例がありますが、いずれにせよ、極めて貴重な素材であったと考えられます。<br />柄の先が３つに分かれていて、鵲（かささぎ）という鳥の尾羽（おば）のようなので、鵲尾形柄香炉（じゃくびがたえごうろ）と呼ばれています。火炉（かろ）と呼ばれる香木を炊く部分は底が深く、刀の鍔（つば）のように縁が張り出し、柄（え）には大きな半球状の飾りが付いています。こうした形は奈良時代以降の柄香炉と大きく異なっており、わが国に残る最古の作品と考えられます。<br />火炉の台座が特殊な花形をしていることにもご注目ください。花弁の間には内側に丸い穴がありますが、これは６世紀から７世紀の朝鮮半島の百済（くだら）における飾り金具に多く見られる特徴です。これにより、この作品は朝鮮半島で制作され、わが国にもたらされたもので、実際に聖徳太子の周辺で使用されていた可能性が考えられます。</p>","descriptionEn":"<p>This is a hand-held tool that was used to burn offerings of incense wood for Buddhist deities. It is thought to have been used by a priest named Hyeja, who instructed Prince Shōtoku in Buddhist philosophy. Hyeja was from the prosperous Goguryeo Kingdom on the northern Korean Peninsula, and after travelling to Japan, he played a central role in Buddhist culture in the early Asuka period.<br /><br />This item is made from brass that was hammered into shape and gilded. At the time in East Asia, brass was considered a specialty of Persia, and writings about it begin to appear in China in the fourth century. A number of handled incense burners like this one are known to have been used in Japan, including examples in the Shōsō-inImperial Repository. The brass used to make them was of great value at the time.<br /><br />The end of the handle is split into three prongs that resembles the shape of the tail feathers of a magpie, which is where the item gets its name. The deep vessel where the incense would have been burned is known in Japanese as karo, and it is surrounded by a rim that protrudes outwards like the handguard on a Japanese sword. The part of the handle attached to the karo is decorated with two large domes of metal. The design is different from incense burners used from the Nara period in the 8th century, and is thought to be the oldest extant example in Japan.<br /><br />Take a closer look at the unique floral shape of the plate that the karo is attached to. There are round holes in the plate between each petal, a characteristic of decorative metal fittings often seen in items made in the Korean kingdom of Baekje during the sixth and seventh centuries. This feature suggests that the incense burner may have been created in Korea. It was brought to Japan and may have been used by Prince Shōtoku and those around him.<br /></p>","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["三国時代または飛鳥時代・6～7世紀","Three Kingdoms period, Korea, or Asuka period, Japan, 6th–7th century"],"location":["朝鮮半島または日本","Korean Peninsula or Japan"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["芸術・美術"],"temporal":["朝鮮・三国時代"]},"cobas-0-s":"117923","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/N-280","cobas-2-s":"N-280","cobas-3-s":"国宝","cobas-4-s":"法隆寺宝物","cobas-5-s":"鵲尾形柄香炉","cobas-6-s":"じゃくびがたえごうろ","cobas-7-s":"1柄","cobas-9-s":"朝鮮半島または日本","cobas-11-s":"三国時代または飛鳥時代・6～7世紀","cobas-12-s":"真鍮製鍛造鍍金","cobas-13-s":"全長39.0　炉口径13.3　高10.2","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>香木を焚いて仏に捧げるため手に持つ道具です。聖徳太子に仏教の哲学を教えた僧、慧慈法師（えじほうし）が用いたものとして伝わりました。慧慈法師は朝鮮半島の北部に栄えた高句麗（こうくり）から渡来した僧侶で、飛鳥時代前期における仏教文化の中心的な存在でした。<br />この作品は真鍮（しんちゅう）を打ち出して作られたもので、表面に金メッキが施されています。当時、真鍮はペルシャの特産品として知られ、中国では４世紀以降、真鍮に関する記述が残されています。わが国ではこの柄香炉をはじめ、正倉院宝物にいくつか使用例がありますが、いずれにせよ、極めて貴重な素材であったと考えられます。<br />柄の先が３つに分かれていて、鵲（かささぎ）という鳥の尾羽（おば）のようなので、鵲尾形柄香炉（じゃくびがたえごうろ）と呼ばれています。火炉（かろ）と呼ばれる香木を炊く部分は底が深く、刀の鍔（つば）のように縁が張り出し、柄（え）には大きな半球状の飾りが付いています。こうした形は奈良時代以降の柄香炉と大きく異なっており、わが国に残る最古の作品と考えられます。<br />火炉の台座が特殊な花形をしていることにもご注目ください。花弁の間には内側に丸い穴がありますが、これは６世紀から７世紀の朝鮮半島の百済（くだら）における飾り金具に多く見られる特徴です。これにより、この作品は朝鮮半島で制作され、わが国にもたらされたもので、実際に聖徳太子の周辺で使用されていた可能性が考えられます。</p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/N-280/image/slideshow_s/N-280_N-280-01.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"103281","cobas-22-s":"117923","cobas-30-s":"National Treasure","cobas-31-s":"Collection of Hōryūji Treasures","cobas-32-s":"Incense Burner with Magpie's Tail-shaped Handle","cobas-35-s":"Korean Peninsula or Japan","cobas-37-s":"Three Kingdoms period, Korea, or Asuka period, Japan, 6th–7th century","cobas-38-s":"Gilt brass","cobas-42-s":"Tokyo National Museum","cobas-43-h":"<p>This is a hand-held tool that was used to burn offerings of incense wood for Buddhist deities. It is thought to have been used by a priest named Hyeja, who instructed Prince Shōtoku in Buddhist philosophy. Hyeja was from the prosperous Goguryeo Kingdom on the northern Korean Peninsula, and after travelling to Japan, he played a central role in Buddhist culture in the early Asuka period.<br /><br />This item is made from brass that was hammered into shape and gilded. At the time in East Asia, brass was considered a specialty of Persia, and writings about it begin to appear in China in the fourth century. A number of handled incense burners like this one are known to have been used in Japan, including examples in the Shōsō-inImperial Repository. The brass used to make them was of great value at the time.<br /><br />The end of the handle is split into three prongs that resembles the shape of the tail feathers of a magpie, which is where the item gets its name. The deep vessel where the incense would have been burned is known in Japanese as karo, and it is surrounded by a rim that protrudes outwards like the handguard on a Japanese sword. The part of the handle attached to the karo is decorated with two large domes of metal. The design is different from incense burners used from the Nara period in the 8th century, and is thought to be the oldest extant example in Japan.<br /><br />Take a closer look at the unique floral shape of the plate that the karo is attached to. There are round holes in the plate between each petal, a characteristic of decorative metal fittings often seen in items made in the Korean kingdom of Baekje during the sixth and seventh centuries. This feature suggests that the incense burner may have been created in Korea. It was brought to Japan and may have been used by Prince Shōtoku and those around him.<br /></p>"},{"id":"jomon_archives-A007b000002","common":{"id":"jomon_archives-A007b000002","title":"大船遺跡　全景","titleEn":"Ofune Site: Panoramic view","titleYomi":"おおふねいせき　ぜんけい","lastUpdatedDate":1662044400000,"linkUrl":"https://jomon-japan.jp/archives#/asset/245","thumbnailUrl":["https://jomon-japan.jp/assets/thumbnail/A007b000002-thumbnail.png"],"contentsUrl":["https://jomon-japan.jp/assets/main/A007b000002-main.png"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural"],"description":"整備後の竪穴建物跡や盛土遺構が復元された様子","location":["北海道函館市","大船遺跡　全景"],"coordinates":{"lat":41.76871109008789,"lon":140.72911071777344},"provider":"jomon_japan","providerUrl":"https://www.city.hakodate.hokkaido.jp/bunya/kyoiku/","ownerOrg":"jomon_japan","database":"jomon_archives","apiType":"ok","subCategory":["考古学","遺跡","縄文","世界遺産"],"access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["静止画資料"],"spatial":["日本 > 北海道"]},"jomon_archives-0-s":"A007b000002","jomon_archives-1-s":"大船遺跡　全景","jomon_archives-2-s":"Ofune Site: Panoramic view","jomon_archives-3-s":"おおふねいせき　ぜんけい","jomon_archives-4-s":"2022/09/02 05:58","jomon_archives-5-u":"https://jomon-japan.jp/archives#/asset/245","jomon_archives-6-u":"https://jomon-japan.jp/assets/thumbnail/A007b000002-thumbnail.png","jomon_archives-7-u":"https://jomon-japan.jp/assets/main/A007b000002-main.png","jomon_archives-8-c":"image","jomon_archives-9-c":"ccby","jomon_archives-10-c":"internet","jomon_archives-11-s":"整備後の竪穴建物跡や盛土遺構が復元された様子","jomon_archives-13-s":"北海道函館市","jomon_archives-14-s":"大船遺跡　全景","jomon_archives-19-u":"https://www.city.hakodate.hokkaido.jp/bunya/kyoiku/"},{"id":"cobas-80988","common":{"id":"cobas-80988","title":"扇面塩山蒔絵料紙箱","titleEn":"Paper Box with Scenery of Mount Shio on a Folding Fan","titleYomi":"せんめんしおのやままきえりょうしばこ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/H-30","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/H-30/image/slideshow_s/H-30_C0012885.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/H-30/image/slideshow_s/H-30_C0012885.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>蓋表に、浜松に千鳥の図が描かれた扇面が大きく表わされている。画中に「志本乃（しほの）・佐之（さし）て・のいそ・君之」の文字が散らされており、『古今和歌集』巻七の賀歌「しほの山さしでの磯に住む千鳥　君が御代をば八千代とぞなく」による図柄であることがわかる。慶賀の意匠であり、この和歌を主題とした作品は多い。<br /></p>","descriptionEn":"<p>This design incorporates calligraphy from a well-known [waka] poem featured in the celebrated [Kokin waka shu] anthology.<br /></p>","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["室町時代・15世紀","Muromachi period, 15th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["漆工"],"temporal":["室町時代"]},"cobas-0-s":"80988","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/H-30","cobas-2-s":"H-30","cobas-4-s":"漆工","cobas-5-s":"扇面塩山蒔絵料紙箱","cobas-6-s":"せんめんしおのやままきえりょうしばこ","cobas-7-s":"1合","cobas-11-s":"室町時代・15世紀","cobas-12-s":"木製漆塗","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>蓋表に、浜松に千鳥の図が描かれた扇面が大きく表わされている。画中に「志本乃（しほの）・佐之（さし）て・のいそ・君之」の文字が散らされており、『古今和歌集』巻七の賀歌「しほの山さしでの磯に住む千鳥　君が御代をば八千代とぞなく」による図柄であることがわかる。慶賀の意匠であり、この和歌を主題とした作品は多い。<br /></p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/H-30/image/slideshow_s/H-30_C0012885.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"60526","cobas-22-s":"80988","cobas-29-s":"工芸:調度・儀礼用品:その他の箱類","cobas-31-s":"Lacquerware","cobas-32-s":"Paper Box with Scenery of Mount Shio on a Folding Fan","cobas-37-s":"Muromachi period, 15th century","cobas-38-s":"Lacquered wood with [maki-e]","cobas-42-s":"Tokyo National Museum","cobas-43-h":"<p>This design incorporates calligraphy from a well-known [waka] poem featured in the celebrated [Kokin waka shu] anthology.<br /></p>","cobas-46-s":"Applied arts:Furnishings and ceremonial objects:Other boxes"},{"id":"tfam_art_db-1554","common":{"id":"tfam_art_db-1554","title":"［重要美術品］五彩魚藻文面盆","titleEn":"[Important Art Object] Foliated Basin with Design of Fish and Water Plants, Over-glaze Enamels","titleYomi":"［じゅうようびじゅつひん］ごさいぎょそうもんめんぼん","lastUpdatedDate":1777442977978,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01554/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01554.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01554.jpg.webp"],"contentsType":"image","contentsRightsType":"cc0","contentsAccess":"internet","category":["art","cultural"],"description":"鍔状の口縁部を持つ五花形の面盆で、明時代の万暦期に好まれた形。万暦年間は、明時代の景徳鎮窯における五彩磁器の全盛期。赤色ばかりでなく、緑・黄・青・黒など、繁褥（はんじょく）ななかにも洗練された色使いが特色。この作品は赤を主調とし、内面は魚藻文が濃密に描かれ、外面に花卉唐草文、八宝文が配されている。底裏には、二重圏線内に3字2行の青花銘。","contributor":["景徳鎮窯","Jing-de-zhen Ware"],"temporal":["明・万暦年間（1573-1620）","Ming dynasty, Wanli Period (1573-1620)"],"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":["中国・明時代"],"spatial":["海外 > アジア > 中国"]},"tfam_art_db-0-s":"1554","tfam_art_db-1-s":"景徳鎮窯","tfam_art_db-2-s":"Jing-de-zhen Ware","tfam_art_db-3-s":"けいとくちんよう","tfam_art_db-6-s":"中国","tfam_art_db-8-s":"五代時代から今も続く窯。窯跡は、江西省景徳鎮市一帯に分布。五代時代には、青磁・白磁が作られ、長江以南で発見されている最古の白磁窯。北宋時代には、いわゆる青白磁を完成させる。元時代には白磁が主流となる。元時代後期には青花磁器を生み出し、以後中国を代表する窯業地に発展。明時代には「御器廠」と呼ばれる官窯が置かれ、青花磁器とともに本格的な五彩磁器も作られるようになる。清時代には、粉彩磁器が開発された。なお、明時代後期から清時代前期には、民窯で青花磁器（芙蓉手・古染付・祥瑞）、五彩磁器（天啓赤絵・色絵祥瑞）など多種多様な磁器が生産され、ヨーロッパをはじめ各地に輸出された。","tfam_art_db-10-s":"［重要美術品］五彩魚藻文面盆","tfam_art_db-11-s":"[Important Art Object] Foliated Basin with Design of Fish and Water Plants, Over-glaze Enamels","tfam_art_db-12-s":"［じゅうようびじゅつひん］ごさいぎょそうもんめんぼん","tfam_art_db-13-s":"1","tfam_art_db-14-s":"明・万暦年間（1573-1620）","tfam_art_db-15-s":"Ming dynasty, Wanli Period (1573-1620)","tfam_art_db-18-s":"高9.7cm、口径35.5cm、底径22.2cm","tfam_art_db-19-s":"H 9.7 cm, Dia. 35.5 cm","tfam_art_db-20-s":"鍔状の口縁部を持つ五花形の面盆で、明時代の万暦期に好まれた形。万暦年間は、明時代の景徳鎮窯における五彩磁器の全盛期。赤色ばかりでなく、緑・黄・青・黒など、繁褥（はんじょく）ななかにも洗練された色使いが特色。この作品は赤を主調とし、内面は魚藻文が濃密に描かれ、外面に花卉唐草文、八宝文が配されている。底裏には、二重圏線内に3字2行の青花銘。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01554/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01554.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01554.jpg.webp"},{"id":"cobas-53811","common":{"id":"cobas-53811","title":"讃岐院眷属をして為朝をすくふ図","titleEn":"Tametomo Rescued by Tengu Sent by Sanuki’in","titleYomi":"さぬきいんけんぞく ためとも ず","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-10569-5331","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-10569-5331/image/slideshow_s/A-10569-5331_E0128782.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-10569-5331/image/slideshow_s/A-10569-5331_E0128782.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>曲亭馬琴作の読本『椿説弓張月（ちんせつゆみはりづき）』源為朝（みなもとのためとも）難船の場面。平清盛（たいらのきよもり）を討とうと都に向かう為朝の船が嵐に遭い、妻白縫（しらぬい）は嵐を鎮めようと海中に身を投じる。嫡男舜天丸（すてまる）の船は沈むが、家来に抱えられて鰐鮫（わにざめ）に助けられる。讃岐院配下の天狗が自害しようとする為朝を救出している。<br /></p><br /><p>　武者絵で人気を集めた歌川国芳による、三枚続きの浮世絵版画です。当時のベストセラー、滝沢馬琴（たきざわばきん）の『椿説弓張月（ちんせつ ゆみはりづき）』の1シーンを描いています。台風で荒れた海を鎮めようと、主人公・為朝（ためとも）の妻白縫（しらぬい）が揺れる舟から身を投げますが、嵐はおさまりません。嘆いた為朝が切腹しようとすると、讃岐院（さぬきいん）の霊がつかわした天狗が現れて彼を止め、船の舵をとります。一方、別の舟から漂流していた為朝の子ども舜天丸（すてまる）と忠臣の紀平冶（きへいじ）は、大きな鰐鮫（わにざめ）に命を助けられます。天狗は薄墨で描かれ、現実のものではないことがよく表れています。書物にある鰐からヒントを得たと思われる鰐鮫の表現や、当時西洋から入ってきたばかりの色である青をふんだんに使うなど、洋風への関心がみてとれます。3枚の画面にまたがって描かれたダイナミックな構図、幻想的な雰囲気などがあいまって、国芳ならではのイマジネーション豊かな作品となっています。</p>","descriptionEn":"<p>This triptych of woodblock prints was created by Utagawa Kuniyoshi, an artist popular for his ukiyo-e depictions of heroic warriors. It depicts a scene from a best-selling novel of the time. The hero, Tametomo, and his wife are caught in typhoon-hit waters. In an attempt to appease the sea, his wife has jumped from their storm-tossed boat, but the tempest remains unabated. As a despairing Tametomo tries to commit hara-kiri, or ritual suicide, a group of tengu goblins appear on the scene to stop him and take control of the boat. Meanwhile, Tametomo's son and a loyal retainer have been cast adrift from another boat, but they are rescued by a giant shark. The tengu are drawn using very thin, black ink. This skillfully expresses their otherworldly nature. This work also displays a keen interest in Western painting styles. It is believed that the ferocious shark is based on depictions of crocodiles found in contemporary books, for instance, while the picture makes liberal use of a blue color recently introduced from the West. From the dynamic composition that ranges over 3 woodblock prints to the fantastical atmosphere of the picture itself, this work displays a rich imagination so typical of Kuniyoshi.</p><br /><p>This print by Kuniyoshi shows a scene from the popular 19th-century novel [Strange Tales of the Bow Moon]. It shows the hero Tametomo being rescued from a sea monster by [tengu].<br /></p>","contributor":["歌川国芳筆","By Utagawa Kuniyoshi (1797-1861)","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・19世紀","Edo period, 19th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"913"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"cobas-0-s":"53811","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-10569-5331","cobas-2-s":"A-10569-5331","cobas-4-s":"絵画","cobas-5-s":"讃岐院眷属をして為朝をすくふ図","cobas-6-s":"さぬきいんけんぞく ためとも ず","cobas-7-s":"1枚","cobas-8-s":"歌川国芳筆","cobas-11-s":"江戸時代・19世紀","cobas-12-s":"大判　錦絵　3枚続","cobas-13-s":"36.0×25.2cm","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>曲亭馬琴作の読本『椿説弓張月（ちんせつゆみはりづき）』源為朝（みなもとのためとも）難船の場面。平清盛（たいらのきよもり）を討とうと都に向かう為朝の船が嵐に遭い、妻白縫（しらぬい）は嵐を鎮めようと海中に身を投じる。嫡男舜天丸（すてまる）の船は沈むが、家来に抱えられて鰐鮫（わにざめ）に助けられる。讃岐院配下の天狗が自害しようとする為朝を救出している。<br /></p><br /><p>　武者絵で人気を集めた歌川国芳による、三枚続きの浮世絵版画です。当時のベストセラー、滝沢馬琴（たきざわばきん）の『椿説弓張月（ちんせつ ゆみはりづき）』の1シーンを描いています。台風で荒れた海を鎮めようと、主人公・為朝（ためとも）の妻白縫（しらぬい）が揺れる舟から身を投げますが、嵐はおさまりません。嘆いた為朝が切腹しようとすると、讃岐院（さぬきいん）の霊がつかわした天狗が現れて彼を止め、船の舵をとります。一方、別の舟から漂流していた為朝の子ども舜天丸（すてまる）と忠臣の紀平冶（きへいじ）は、大きな鰐鮫（わにざめ）に命を助けられます。天狗は薄墨で描かれ、現実のものではないことがよく表れています。書物にある鰐からヒントを得たと思われる鰐鮫の表現や、当時西洋から入ってきたばかりの色である青をふんだんに使うなど、洋風への関心がみてとれます。3枚の画面にまたがって描かれたダイナミックな構図、幻想的な雰囲気などがあいまって、国芳ならではのイマジネーション豊かな作品となっています。</p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-10569-5331/image/slideshow_s/A-10569-5331_E0128782.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"26679","cobas-22-s":"53811","cobas-23-s":"178853","cobas-29-s":"絵画:日本:浮世絵","cobas-31-s":"Painting","cobas-32-s":"Tametomo Rescued by Tengu Sent by Sanuki’in","cobas-34-s":"By Utagawa Kuniyoshi (1797-1861)","cobas-37-s":"Edo period, 19th century","cobas-42-s":"Tokyo National Museum","cobas-43-h":"<p>This triptych of woodblock prints was created by Utagawa Kuniyoshi, an artist popular for his ukiyo-e depictions of heroic warriors. It depicts a scene from a best-selling novel of the time. The hero, Tametomo, and his wife are caught in typhoon-hit waters. In an attempt to appease the sea, his wife has jumped from their storm-tossed boat, but the tempest remains unabated. As a despairing Tametomo tries to commit hara-kiri, or ritual suicide, a group of tengu goblins appear on the scene to stop him and take control of the boat. Meanwhile, Tametomo's son and a loyal retainer have been cast adrift from another boat, but they are rescued by a giant shark. The tengu are drawn using very thin, black ink. This skillfully expresses their otherworldly nature. This work also displays a keen interest in Western painting styles. It is believed that the ferocious shark is based on depictions of crocodiles found in contemporary books, for instance, while the picture makes liberal use of a blue color recently introduced from the West. From the dynamic composition that ranges over 3 woodblock prints to the fantastical atmosphere of the picture itself, this work displays a rich imagination so typical of Kuniyoshi.</p><br /><p>This print by Kuniyoshi shows a scene from the popular 19th-century novel [Strange Tales of the Bow Moon]. It shows the hero Tametomo being rescued from a sea monster by [tengu].<br /></p>","cobas-46-s":"Paintings, sketches, and prints:Japan:Ukiyo-e"},{"id":"tfam_art_db-657","common":{"id":"tfam_art_db-657","title":"武蔵野図屏風","titleEn":"Folding Screen with Design of Musashino Plain","titleYomi":"むさしのずびょうぶ","lastUpdatedDate":1777442977978,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/00657/","thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00657_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00657_02.jpg.webp"],"contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/00657_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/00657_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構図で、一般に風情あふれる武蔵野の原野を描いたもの。武蔵野とは江戸（東京）の西部に広がる、関東平野の一部であり、古く「万葉集」や「伊勢物語」にもその名がみえ、俗謡に「武藏野は月の入るべき山もなし、草より出でて草にこそ入れ」とある。一面を無数の秋草で埋めつくし、左隻に雲上の富士を、右隻に草の間に沈む月を配す。銀の顔料で描かれた月は、経年変化で黒く変色している。","contributor":["作者不詳","Artist Unknown"],"temporal":["江戸時代前期（17世紀）","Early Edo Period (17th 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":["絵画"],"temporal":["江戸時代"]},"tfam_art_db-0-s":"657","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","tfam_art_db-11-s":"Folding Screen with Design of Musashino Plain","tfam_art_db-12-s":"むさしのずびょうぶ","tfam_art_db-13-s":"2","tfam_art_db-14-s":"江戸時代前期（17世紀）","tfam_art_db-15-s":"Early Edo Period (17th 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":"140.0×330.0cm（各）","tfam_art_db-19-s":"140.0 x 330.0 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構図で、一般に風情あふれる武蔵野の原野を描いたもの。武蔵野とは江戸（東京）の西部に広がる、関東平野の一部であり、古く「万葉集」や「伊勢物語」にもその名がみえ、俗謡に「武藏野は月の入るべき山もなし、草より出でて草にこそ入れ」とある。一面を無数の秋草で埋めつくし、左隻に雲上の富士を、右隻に草の間に沈む月を配す。銀の顔料で描かれた月は、経年変化で黒く変色している。","tfam_art_db-21-s":"The composition of Musashino Plain was one favored by several Yamato-e schools of painting in the early modern period. Depictions of the plain of Musashino were generally brimming with taste. Musashino is part of the Kanto Plain which spreads over the western part of Edo (Tokyo). Its name is found in old texts such as the Manyoshu and The Tales of Ise, and in a popular poem: “On the Musashi plain/There is no mountain/Behind which the moon disappears./It rises and sinks among the grass.” The entire screen is packed with countless autumn flowers, with Mt. Fuji above the clouds on the left, and the moon sinking amongst the grass on the right. The moon, which was painted with silver pigment, has turned black with age.","tfam_art_db-22-s":"日本画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/00657/","tfam_art_db-24-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/00657_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/00657_02.jpg.webp"],"tfam_art_db-25-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00657_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00657_02.jpg.webp"]},{"id":"keioobjecthub-1863","common":{"id":"keioobjecthub-1863","title":"源氏物語橋姫図","titleEn":"Scene from the Lady at the Bridge Chapter of The Tale of Genji","titleYomi":"ゲンジモノガタリハシヒメズ","lastUpdatedDate":1673449200000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1863","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14663_14663.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14663_14663.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1863/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"俵屋宗達〈たわらやそうたつ・生没年未詳〉は、桃山～江戸時代初期の画家。その伝記は詳らかでないが、京都の上層町衆の絵屋あるいは扇屋として、「西行物語絵巻」の模写や「平家納経」の修理などを通じて古典絵画を学び、独自の装飾性によってやまと絵の近世的復興を果たした。千少庵〈せんしょうあん・1546-1614〉、烏丸光広〈からすまるみつひろ・1579-1638〉など当時一流の文化人・公卿たちとの親交が深く、本阿弥光悦〈ほんあみこうえつ・1558-1637〉とは姻戚関係にある。宗達と光悦が創始した琳派はその後、尾形光琳〈おがたこうりん・1658-1716〉・乾山〈けんざん・1663-1743〉兄弟によって発展、酒井抱一〈さかいほういつ・1761-1828〉、鈴木其一〈すずききいつ・1796-1858〉らによって江戸の地に定着した。紫式部〈むらさきしきぶ・生没年未詳〉の『源氏物語』（54帖）は、成立後数十年にして早くも一少女に耽読されたように（『更級日記』）、読者層を広げていった。やがて、『源氏物語』を絵画化しようとする風潮が起こった。12世紀初めの源師時の日記『長秋記』によれば、鳥羽天皇の中宮璋子〈たまこ＝待賢門院・1101-45〉が、「源氏絵」（当時すでにこの名で呼ばれていた）の制作を依頼、中宮に仕える師時が貴族絵師の彩管を揮って描いたのである。これが文献に残る最初の記録である。現在、徳川美術館と五島美術館が所蔵する「源氏物語絵巻」は、それから30～40年後の作品である。以後、時代を通じて『源氏物語』は享受されつづけ、近世に入ると、『源氏物語』の各場面の絵様（「源氏絵」）が定形化され、色紙や巻物などに描かれ、屏風に貼り交ぜたり、帖に仕立てて鑑賞されるようになった。この図は、「橋姫」の巻の一場面を描いたもの。宇治の山荘で、八宮の２人の姫君（大君・中君）たちが、琴と琵琶を合奏する姿を、たまたま訪れた薫が覗き見るところである。琵琶の撥で有明の月を招くと見えるのがおそらく中君、簀子の上に控えるのが近侍の女房で、大君は画面に見えない。単純化された装飾的な画面が、宗達独特の美意識を反映している。これは、大正から昭和にかけて活躍した実業家・団琢磨〈だんたくま・1858-1932〉の旧蔵で、いまは段ごとに分断され、諸家に分蔵されている。\n","descriptionEn":"The Genji Monogatari (Tale of Genji) is a lengthy novel of court romances in fifty-four chapters, written by the court lady Murasaki Shikibu (Lady Murasaki, dates of birth and death unknown) in the early eleventh century. The first attempt to illustrate in painting was made at the beginning of the twelfth century in the harem of Tamako (1101-1145), a consort of Emperor Toba (1107-1123). The Genji Monogatari Emaki (Illustrated Handscrolls of the Tale of Genji) now partly surviving in the collections if the Tokugawa Art Museum and the Goto Art Museum was produced about thirty to forty years after that. Shown here is a scene from the Tale of Genji illustrated by Tawaraya Sotatsu (dates of birth and death unknown), an artist who was active in Kyoto during the late Momoyama and early Edo periods. There were at the time various stylized types of Genji illustrations, termed Genji-e (Genji pictures), treating of scenes from respective chapters of the novel. Illustrated here is a scene from the Hashihime Chapter in which Kaoru, son of Hikaru Genji, visits the princesses at their abode in Uji (in the suburbs of Kyoto). It entertains us with rich bright colors and fantastic composition.\n","contributor":["伝俵屋宗達"],"temporal":["江戸時代（17世紀)"],"provider":"keiokemco","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"1863","keioobjecthub-1-s":"源氏物語橋姫図","keioobjecthub-2-s":"Scene from the Lady at the Bridge Chapter of The Tale of Genji","keioobjecthub-3-s":"ゲンジモノガタリハシヒメズ","keioobjecthub-4-d":"2023/01/12","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1863","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14663_14663.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1863/2.1/manifest.json","keioobjecthub-12-s":"伝俵屋宗達","keioobjecthub-13-s":"江戸時代（17世紀)","keioobjecthub-15-gs":"俵屋宗達〈たわらやそうたつ・生没年未詳〉は、桃山～江戸時代初期の画家。その伝記は詳らかでないが、京都の上層町衆の絵屋あるいは扇屋として、「西行物語絵巻」の模写や「平家納経」の修理などを通じて古典絵画を学び、独自の装飾性によってやまと絵の近世的復興を果たした。千少庵〈せんしょうあん・1546-1614〉、烏丸光広〈からすまるみつひろ・1579-1638〉など当時一流の文化人・公卿たちとの親交が深く、本阿弥光悦〈ほんあみこうえつ・1558-1637〉とは姻戚関係にある。宗達と光悦が創始した琳派はその後、尾形光琳〈おがたこうりん・1658-1716〉・乾山〈けんざん・1663-1743〉兄弟によって発展、酒井抱一〈さかいほういつ・1761-1828〉、鈴木其一〈すずききいつ・1796-1858〉らによって江戸の地に定着した。紫式部〈むらさきしきぶ・生没年未詳〉の『源氏物語』（54帖）は、成立後数十年にして早くも一少女に耽読されたように（『更級日記』）、読者層を広げていった。やがて、『源氏物語』を絵画化しようとする風潮が起こった。12世紀初めの源師時の日記『長秋記』によれば、鳥羽天皇の中宮璋子〈たまこ＝待賢門院・1101-45〉が、「源氏絵」（当時すでにこの名で呼ばれていた）の制作を依頼、中宮に仕える師時が貴族絵師の彩管を揮って描いたのである。これが文献に残る最初の記録である。現在、徳川美術館と五島美術館が所蔵する「源氏物語絵巻」は、それから30～40年後の作品である。以後、時代を通じて『源氏物語』は享受されつづけ、近世に入ると、『源氏物語』の各場面の絵様（「源氏絵」）が定形化され、色紙や巻物などに描かれ、屏風に貼り交ぜたり、帖に仕立てて鑑賞されるようになった。この図は、「橋姫」の巻の一場面を描いたもの。宇治の山荘で、八宮の２人の姫君（大君・中君）たちが、琴と琵琶を合奏する姿を、たまたま訪れた薫が覗き見るところである。琵琶の撥で有明の月を招くと見えるのがおそらく中君、簀子の上に控えるのが近侍の女房で、大君は画面に見えない。単純化された装飾的な画面が、宗達独特の美意識を反映している。これは、大正から昭和にかけて活躍した実業家・団琢磨〈だんたくま・1858-1932〉の旧蔵で、いまは段ごとに分断され、諸家に分蔵されている。\n","keioobjecthub-16-gs":"The Genji Monogatari (Tale of Genji) is a lengthy novel of court romances in fifty-four chapters, written by the court lady Murasaki Shikibu (Lady Murasaki, dates of birth and death unknown) in the early eleventh century. The first attempt to illustrate in painting was made at the beginning of the twelfth century in the harem of Tamako (1101-1145), a consort of Emperor Toba (1107-1123). The Genji Monogatari Emaki (Illustrated Handscrolls of the Tale of Genji) now partly surviving in the collections if the Tokugawa Art Museum and the Goto Art Museum was produced about thirty to forty years after that. Shown here is a scene from the Tale of Genji illustrated by Tawaraya Sotatsu (dates of birth and death unknown), an artist who was active in Kyoto during the late Momoyama and early Edo periods. There were at the time various stylized types of Genji illustrations, termed Genji-e (Genji pictures), treating of scenes from respective chapters of the novel. Illustrated here is a scene from the Hashihime Chapter in which Kaoru, son of Hikaru Genji, visits the princesses at their abode in Uji (in the suburbs of Kyoto). It entertains us with rich bright colors and fantastic composition.\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:江戸時代（17世紀)","keioobjecthub-20-s":"作者:伝俵屋宗達","keioobjecthub-23-s":"紙本着色","keioobjecthub-24-s":"AW-CEN-000208-0000","keioobjecthub-26-s":"27.5×62.8","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":"箱書\n外箱覆紙表面「雪之部　法橋宗達筆源氏物語之圖　團家旧蔵」／外箱裏面「團家蔵［白文方印］」／外箱内側「宗達源氏繪」","keioobjecthub-32-s":"ミュージアム・コモンズ"},{"id":"cobas-5802","common":{"id":"cobas-5802","title":"三岳紀行図","titleEn":"Travelogue of Three Mountains","titleYomi":"サンガクキコウズ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B246","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B246/image/slideshow_s/838_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B246/image/slideshow_s/838_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>この屏風は、宝暦十年（1760）、池大雅（1723～76）が友人の高芙蓉・韓天壽とともに、富士山・立山・白山の三山に登った折のメモ帖を貼り交ぜたもので、色々な物の値段などが細かく記されており、江戸時代の旅行記としても貴重である。</p>","descriptionEn":"<p>This folding screen is composed of sketches by Ike Taiga (1723-76) and his friends, the Confucian scholar Kô Fuyô (1722-84) and writer Kan Tenju (1727-95), when they climbed three mountains, Mount Fuji, Tateyama, and Hakusan, in 1760. The sketches on notepaper were later pasted onto this screen. Various details, such as the price of items encountered along their hike, are recorded, making this work noteworthy both as an interesting painting as well as a travelogue from the Edo period (1616-1867).</p>","contributor":["池大雅","Ike no Taiga (Ike Taiga)","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["江戸時代","Edo"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"5802","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B246","cobas-2-s":"A甲46","cobas-4-s":"絵画","cobas-5-s":"三岳紀行図","cobas-6-s":"サンガクキコウズ","cobas-7-s":"8曲1隻","cobas-8-s":"池大雅","cobas-9-s":"日本","cobas-11-s":"江戸時代","cobas-13-s":"縦90.5cm:横42cm","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"<p>この屏風は、宝暦十年（1760）、池大雅（1723～76）が友人の高芙蓉・韓天壽とともに、富士山・立山・白山の三山に登った折のメモ帖を貼り交ぜたもので、色々な物の値段などが細かく記されており、江戸時代の旅行記としても貴重である。</p>","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B246/image/slideshow_s/838_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"346","cobas-22-s":"5802","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Travelogue of Three Mountains","cobas-34-s":"Ike no Taiga (Ike Taiga)","cobas-37-s":"Edo","cobas-39-s":"Height90.5cm:Width42cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"<p>This folding screen is composed of sketches by Ike Taiga (1723-76) and his friends, the Confucian scholar Kô Fuyô (1722-84) and writer Kan Tenju (1727-95), when they climbed three mountains, Mount Fuji, Tateyama, and Hakusan, in 1760. The sketches on notepaper were later pasted onto this screen. Various details, such as the price of items encountered along their hike, are recorded, making this work noteworthy both as an interesting painting as well as a travelogue from the Edo period (1616-1867).</p>","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-5683","common":{"id":"cobas-5683","title":"公家列影図","titleEn":"Portraits of Court Nobles","titleYomi":"クゲレツエイズ／コウケレツエイズ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2233","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2233/image/slideshow_s/341335_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2233/image/slideshow_s/341335_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>摂関大臣などの公卿57人を上下2段に、上段は前を向いて、下段は背向して振り向く姿で描くもので、かつて「年中行事着坐図巻」と呼ばれたが、ある時の行事に集う人を描くものではなく、公家の列坐影である。宮内庁本天子摂関影によって像主を見ると、巻首の藤原忠通から、建長4年(1252)補任の摂関大臣まで描かれている。<br /> 筆者を藤原信実と伝えるように、画風は細線をひき重ねて像主の相貌を写し取る似絵の伝統的技法が生きており、隆信、信実以来の似絵の家系に筆者を求め得る。束帯の文様に有職を無視して蕪や大根まで描くのは異例であり、あるいは似絵の手控として作られたかとの想像をひきおこす。</p>","descriptionEn":"<p>Fifty-seven court nobles of various rank, beginning with Fujiwara Tadamichi (1097-1164) and extending to regents and ministers appointed up to 1252, are depicted in two rows. Thin and intricate lines, drawn in layers, show great detail to the facial features, displaying a traditional portrait-painting style. However, the unusual design of turnips and radishes painted on the formal court attire suggests that this scroll may have been intended as a preliminary sketch for an official portraiture.<br /><p><br /><br />The scroll is said to have painted by Fujiwara Nobuzane. Considering the fine lined traditional portrait-painting style, the artist may very well have belonged to the portrait-painting school of Takanobu and Nobuzane. </p><p></p></p>","contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["鎌倉時代・13世紀","Kamakura ・13th"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"5683","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2233","cobas-2-s":"A甲233","cobas-3-s":"重要文化財","cobas-4-s":"絵画","cobas-5-s":"公家列影図","cobas-6-s":"クゲレツエイズ／コウケレツエイズ","cobas-7-s":"1巻","cobas-9-s":"日本","cobas-11-s":"鎌倉時代・13世紀","cobas-13-s":"縦36.2cm:全長521.6cm","cobas-14-s":"巻末に「年中行事着座 土佐信実朝臣筆（印二顆）」とある一紙を貼込んでいる","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"<p>摂関大臣などの公卿57人を上下2段に、上段は前を向いて、下段は背向して振り向く姿で描くもので、かつて「年中行事着坐図巻」と呼ばれたが、ある時の行事に集う人を描くものではなく、公家の列坐影である。宮内庁本天子摂関影によって像主を見ると、巻首の藤原忠通から、建長4年(1252)補任の摂関大臣まで描かれている。<br /> 筆者を藤原信実と伝えるように、画風は細線をひき重ねて像主の相貌を写し取る似絵の伝統的技法が生きており、隆信、信実以来の似絵の家系に筆者を求め得る。束帯の文様に有職を無視して蕪や大根まで描くのは異例であり、あるいは似絵の手控として作られたかとの想像をひきおこす。</p>","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2233/image/slideshow_s/341335_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"692","cobas-22-s":"5683","cobas-29-s":"絵画:日本:やまと絵","cobas-30-s":"Important Cultural Property","cobas-31-s":"Painting","cobas-32-s":"Portraits of Court Nobles","cobas-37-s":"Kamakura ・13th","cobas-39-s":"Height36.2cm:Length521.6cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"<p>Fifty-seven court nobles of various rank, beginning with Fujiwara Tadamichi (1097-1164) and extending to regents and ministers appointed up to 1252, are depicted in two rows. Thin and intricate lines, drawn in layers, show great detail to the facial features, displaying a traditional portrait-painting style. However, the unusual design of turnips and radishes painted on the formal court attire suggests that this scroll may have been intended as a preliminary sketch for an official portraiture.<br /></p><p><br /><br />The scroll is said to have painted by Fujiwara Nobuzane. Considering the fine lined traditional portrait-painting style, the artist may very well have belonged to the portrait-painting school of Takanobu and Nobuzane. </p><p></p>","cobas-46-s":"Paintings, sketches, and prints:Japan:Yamato-e"},{"id":"cobas-87973","common":{"id":"cobas-87973","title":"帷子 白麻地松竹梅鶴亀模様","titleEn":"Katabira (Unlined summer garment), Pine, bamboo, plum tree, crane, and tortoise design on white ramie ground","titleYomi":"かたびら しろあさじしょうちくばいつるかめもよう","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/I-4018","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/I-4018/image/slideshow_s/I-4018_C0045707.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/I-4018/image/slideshow_s/I-4018_C0045707.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>帷子とは夏季に着用する単(ひとえ)仕立の麻製の衣装である。松竹の立木模様に鶴亀をあしらった吉祥模様の帷子は晴(はれ)着(ぎ)用にあつらえられたのであろう。友禅染に刺(し)繍(しゅう)が加えられたシンプルなデザインが涼しげである。若い女性用の振袖を短くし、成人向けの留袖(とめそで)としている。<br /></p>","contributor":["野口眞造氏寄贈","Gift of Mr. Noguchi Shinzo","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・19世紀","Edo period, 19th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"594"},"rdfindex":{"type":["染織"],"temporal":["江戸時代"]},"cobas-0-s":"87973","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/I-4018","cobas-2-s":"I-4018","cobas-4-s":"染織","cobas-5-s":"帷子 白麻地松竹梅鶴亀模様","cobas-6-s":"かたびら しろあさじしょうちくばいつるかめもよう","cobas-7-s":"1領","cobas-11-s":"江戸時代・19世紀","cobas-15-s":"野口眞造氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>帷子とは夏季に着用する単(ひとえ)仕立の麻製の衣装である。松竹の立木模様に鶴亀をあしらった吉祥模様の帷子は晴(はれ)着(ぎ)用にあつらえられたのであろう。友禅染に刺(し)繍(しゅう)が加えられたシンプルなデザインが涼しげである。若い女性用の振袖を短くし、成人向けの留袖(とめそで)としている。<br /></p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/I-4018/image/slideshow_s/I-4018_C0045707.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"72834","cobas-22-s":"87973","cobas-31-s":"Textiles","cobas-32-s":"Katabira (Unlined summer garment), Pine, bamboo, plum tree, crane, and tortoise design on white ramie ground","cobas-37-s":"Edo period, 19th century","cobas-41-s":"Gift of Mr. Noguchi Shinzo","cobas-42-s":"Tokyo National Museum"},{"id":"cobas-141896","common":{"id":"cobas-141896","title":"ドロナ","titleEn":"Drona","titleYomi":"ドロナ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/TA-168","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/TA-168/image/slideshow_s/TA-168_E0138673.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/TA-168/image/slideshow_s/TA-168_E0138673.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>第一次大谷探検隊がキジル石窟第224窟右廊内壁から採取した壁画です。釈迦の入滅後、クシナガラのマッラ国が保管していた舎利（釈迦の遺骨）をめぐり、8か国の王の間で争いが起きました。バラモンのドロナが舎利を分け、争いを調停しました。</p>","descriptionEn":"<p>After the death of the buddha Śākyamuni, the kings of eight countries came into conflict over his remains.His disciple Drona, depicted here, a was said to have mediated this dispute and divided the remains among them.</p>","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["唐時代・7世紀","Tang dynasty, 7th century"],"location":["中国・キジル石窟第224窟","Cave 224, Kizil Caves, China"],"coordinates":{"lat":38.89458084106445,"lon":141.65843200683594},"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"702"},"rdfindex":{"type":["絵画"],"temporal":["中国・唐時代"],"spatial":["海外 > アジア > 中国"]},"cobas-0-s":"141896","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/TA-168","cobas-2-s":"TA-168","cobas-4-s":"東洋絵画","cobas-5-s":"ドロナ","cobas-6-s":"ドロナ","cobas-7-s":"1面","cobas-10-s":"中国・キジル石窟第224窟","cobas-11-s":"唐時代・7世紀","cobas-12-s":"土壁彩色","cobas-13-s":"縦40.5 横28.0","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>第一次大谷探検隊がキジル石窟第224窟右廊内壁から採取した壁画です。釈迦の入滅後、クシナガラのマッラ国が保管していた舎利（釈迦の遺骨）をめぐり、8か国の王の間で争いが起きました。バラモンのドロナが舎利を分け、争いを調停しました。</p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/TA-168/image/slideshow_s/TA-168_E0138673.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"137383","cobas-22-s":"141896","cobas-31-s":"Asian Painting","cobas-32-s":"Drona","cobas-36-s":"Cave 224, Kizil Caves, China","cobas-37-s":"Tang dynasty, 7th century","cobas-38-s":"Clay wall with pigment","cobas-42-s":"Tokyo National Museum","cobas-43-h":"<p>After the death of the buddha Śākyamuni, the kings of eight countries came into conflict over his remains.His disciple Drona, depicted here, a was said to have mediated this dispute and divided the remains among them.</p>"},{"id":"cobas-148152","common":{"id":"cobas-148152","title":"青磁下蕪双耳花入","titleEn":"Flower Vase with Two Handles, Celadon glaze","titleYomi":"せいじしもかぶらそうじはないれ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/TG-2511","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/TG-2511/image/slideshow_s/TG-2511_C0084588.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/TG-2511/image/slideshow_s/TG-2511_C0084588.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"<p>胎が灰色を帯び、釉はガラス質で緑色を呈している。明時代の龍泉窯の製品である。下蕪（しもかぶら）形で、口縁近くに獣耳が付く。同形の青銅製の花生は元時代の遺構から見つかっている。日本では、このような細頸の花生は茶人に好まれ、のちまで重宝された。<br /></p><br /><p>中国浙江省（せっこうしょう）の南西部、山深い龍泉市（りゅうせんし）を中心にひろがる龍泉窯（りゅうせんよう）で作られた花入（はないれ）です。<br />このように、透明感のある青色の釉薬（ゆうやく）のかかったやきものを青磁（せいじ）といいます。<br />龍泉窯は古くから青磁の産地として知られ、とくに南宋時代・12～13世紀につくられた潤いのある明るいみずいろの青磁が有名です。この作品は明時代・15世紀につくられたものです。明の龍泉窯の特徴は、すこし緑がかった青色と、比較的厚みがあり釉薬を何回もかけてやかれているため、持ってみるととても重いことです。<br />底をみると、鉄分を含んだ灰白色（かいはくしょく）の土を使っていることがわかります。青磁というと吸水性のない白い土を使った、いわゆる磁器だと思っている人が多いようですが、実は、吸水性のある土を使った陶器なのです。この土と、釉（うわぐすり）に含まれた鉄分によって、還元焔焼成（かんげんえんしょうせい）、つまりできるだけ酸素を遮断して焼いたときに青色を帯びたやきものになるのです。<br />この花入は、下のほうが丸く膨らんでいることから、下蕪（しもかぶら）の名で呼ばれます。口のところには獣の頭のかたちの耳がついています。<br />もともとは古代の青銅器の形を模してつくられたと考えられますが、花入という用途にあわせて首が細く長くなったのでしょう。<br />龍泉窯の青磁は古くから日本に数多く輸入されていますが、このような花入はとくに日本の茶人に好まれたようです。さて、あなたならどんな花を生けますか？<br /></p>","descriptionEn":"<p>This flower vase was made in the Longquan kilns that proliferated around the city of Longquan, located deep in the mountains of southwest Zhejiang province, China.<br />Ceramics like this, with a translucent blue glaze, are known as celadon ware.<br />The Longquan kilns were famed for their celadon ceramics since antiquity. Of particular renown are the glossy, light-blue celadon works produced in the 12th and 13th centuries, during the Southern Song dynasty. This vase was made in the 15th century, during the Ming dynasty. Ming-dynasty Longquan ware is characterized by its greenish-blue color and comparative thickness. These ceramics were glazed several times before being fired so they feel quite heavy to hold.<br />This vase’s large, rounded lower section has earned it the name ‘shimokabura’, or ‘turnip bottom.’ The mouth of the vase is adorned with two handles in the shape of animal heads.<br />It is thought the shape was originally modelled on ancient bronze ware, but the neck probably became longer and thinner to accommodate its use as a flower vase.<br />Longquan celadons were imported to Japan in great volumes from long ago, but it seems this kind of vase was particularly cherished by Japanese tea masters. What kind of flowers would you arrange in this vase?<br /><br /><br /></p>","contributor":["中国・龍泉窯","Longquan ware, China","広田松繁氏寄贈","Gift of Mr. Hirota Matsushige","東京国立博物館","Tokyo National Museum"],"temporal":["明時代・15世紀","Ming dynasty, 15th century"],"location":["China"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["中国・明時代"]},"cobas-0-s":"148152","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/TG-2511","cobas-2-s":"TG-2511","cobas-4-s":"東洋陶磁","cobas-5-s":"青磁下蕪双耳花入","cobas-6-s":"せいじしもかぶらそうじはないれ","cobas-7-s":"1口","cobas-8-s":"中国・龍泉窯","cobas-11-s":"明時代・15世紀","cobas-12-s":"陶製","cobas-13-s":"高25.6 口径4.2 高台径8.3","cobas-15-s":"広田松繁氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"<p>胎が灰色を帯び、釉はガラス質で緑色を呈している。明時代の龍泉窯の製品である。下蕪（しもかぶら）形で、口縁近くに獣耳が付く。同形の青銅製の花生は元時代の遺構から見つかっている。日本では、このような細頸の花生は茶人に好まれ、のちまで重宝された。<br /></p><br /><p>中国浙江省（せっこうしょう）の南西部、山深い龍泉市（りゅうせんし）を中心にひろがる龍泉窯（りゅうせんよう）で作られた花入（はないれ）です。<br />このように、透明感のある青色の釉薬（ゆうやく）のかかったやきものを青磁（せいじ）といいます。<br />龍泉窯は古くから青磁の産地として知られ、とくに南宋時代・12～13世紀につくられた潤いのある明るいみずいろの青磁が有名です。この作品は明時代・15世紀につくられたものです。明の龍泉窯の特徴は、すこし緑がかった青色と、比較的厚みがあり釉薬を何回もかけてやかれているため、持ってみるととても重いことです。<br />底をみると、鉄分を含んだ灰白色（かいはくしょく）の土を使っていることがわかります。青磁というと吸水性のない白い土を使った、いわゆる磁器だと思っている人が多いようですが、実は、吸水性のある土を使った陶器なのです。この土と、釉（うわぐすり）に含まれた鉄分によって、還元焔焼成（かんげんえんしょうせい）、つまりできるだけ酸素を遮断して焼いたときに青色を帯びたやきものになるのです。<br />この花入は、下のほうが丸く膨らんでいることから、下蕪（しもかぶら）の名で呼ばれます。口のところには獣の頭のかたちの耳がついています。<br />もともとは古代の青銅器の形を模してつくられたと考えられますが、花入という用途にあわせて首が細く長くなったのでしょう。<br />龍泉窯の青磁は古くから日本に数多く輸入されていますが、このような花入はとくに日本の茶人に好まれたようです。さて、あなたならどんな花を生けますか？<br /></p>","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/TG-2511/image/slideshow_s/TG-2511_C0084588.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"147729","cobas-22-s":"148152","cobas-31-s":"Asian Ceramics","cobas-32-s":"Flower Vase with Two Handles, Celadon glaze","cobas-34-s":"Longquan ware, China","cobas-35-s":"China","cobas-37-s":"Ming dynasty, 15th century","cobas-41-s":"Gift of Mr. Hirota Matsushige","cobas-42-s":"Tokyo National Museum","cobas-43-h":"<p>This flower vase was made in the Longquan kilns that proliferated around the city of Longquan, located deep in the mountains of southwest Zhejiang province, China.<br />Ceramics like this, with a translucent blue glaze, are known as celadon ware.<br />The Longquan kilns were famed for their celadon ceramics since antiquity. Of particular renown are the glossy, light-blue celadon works produced in the 12th and 13th centuries, during the Southern Song dynasty. This vase was made in the 15th century, during the Ming dynasty. Ming-dynasty Longquan ware is characterized by its greenish-blue color and comparative thickness. These ceramics were glazed several times before being fired so they feel quite heavy to hold.<br />This vase’s large, rounded lower section has earned it the name ‘shimokabura’, or ‘turnip bottom.’ The mouth of the vase is adorned with two handles in the shape of animal heads.<br />It is thought the shape was originally modelled on ancient bronze ware, but the neck probably became longer and thinner to accommodate its use as a flower vase.<br />Longquan celadons were imported to Japan in great volumes from long ago, but it seems this kind of vase was particularly cherished by Japanese tea masters. What kind of flowers would you arrange in this vase?<br /><br /><br /></p>"},{"id":"sdcommons_npmh-03J1100004001","common":{"id":"sdcommons_npmh-03J1100004001","title":"川中島合戦絵","lastUpdatedDate":-61785190800000,"linkUrl":"https://www.ro-da.jp/shinshu-dcommons/museum_history/03J1100004001","thumbnailUrl":["https://api.ro-da.jp/v1/shinshu-dcommons/museum_history/03J1100004001/thumbnails/default.png"],"contentsRightsType":"cc0","contentsAccess":"internet","category":["regional"],"description":"甲陽軍鑑に基づき武田信玄・上杉謙信の一騎打ちを描く絵。","contributor":["長野県","ナガノケン"],"temporal":["江戸","",""],"location":["長野県千曲市屋代260-6",""],"coordinates":{"lat":36.53367,"lon":138.11951000000002},"provider":"長野県立歴史館","providerUrl":"https://www.npmh.net/","ownerOrg":"naganotoshokan","database":"sdcommons_npmh","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["絵画等"],"spatial":["日本 > 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