{"facets":[{"counts":{"others":8494932,"incr":5322615,"edu":2150563,"noncom":1739126,"com":1636607,"pdm":910265,"nocr_cont":512171,"incr_edu":411437,"ccby":378216,"uneval":355548,"ccbysa":325458,"ccbyncnd":167651,"ccbyncsa":83443,"undet":65537,"cc0":22668,"ccbynd":21978,"ccbync":19076,"nocr_other":1636},"key":"rights"},{"counts":{"not_exist":11044423,"internet":6205254,"restricted":4446807,"iiif":1612391,"image":5226652,"text":437930,"sound":70411,"pdf":57244,"video":37089,"3d":107,"thumb":5709765,"description":1005674},"key":"contents"},{"counts":{"periodical":1391872,"book":1297425,"ancdoc":608355,"docs":838412,"archeology":361411,"media":179983,"other":168743,"paint":207460,"anime":124733,"article":176543,"photo":157318,"natural":105123,"exhibition":51191,"performance":50161,"game":48118,"offdoc":64966,"poetry":34346,"craft":42390,"map":21826,"metal":19066,"dataset":17092,"recording":15953,"architecture":20299,"postcard":14452,"arts":14192,"mediaart":13142,"ceramic":12871,"video":10095,"daw":9068,"lacquer":8693,"sculpture":8636,"movie":7485,"weaponry":4586,"ematerial":4229,"broadcast":3994,"site":4035,"poster":4860,"mscore":2332,"customs":1324,"org":605,"stone":313,"3d":184,"woodw":140,"mineral":101,"website":4},"key":"type"},{"counts":{"bibnl":6808954,"s_net":6205351,"dignl":4844890,"najda":4189647,"nme_lib_books":635924,"nij10":618739,"fukui":601392,"nij16":379739,"nme_trackInfo":352748,"ukobe":326247,"tokyomuseumcolection":298591,"nme_mocat":288576,"adeac":269367,"nmj01":259469,"arc_books":257075,"nij01":228107,"fcm_db":210635,"nmj02":195913,"cria":195213,"FishPix":174192,"utokyo_da":174031,"madb_animation":172160,"okura":168125,"nin01":154385,"cobas":152689,"saga":146515,"arc_nishikie":146458,"saitama_museum":131002,"kyudai":129342,"THERS_da":128824,"nij11":124090,"arc_photodb":111243,"enpaku_engekijoen":106060,"artmuseb":105099,"NagoyaCity_Museum":98969,"ishikawa":87639,"nme_mobib":85068,"Showa_book":82052,"miyagi":81594,"arc_ban":75908,"tpada_kenmei":74764,"bjfl":73629,"kochi":73385,"jaccs":69891,"nij13":69597,"arc_resource":69532,"exhib":67885,"tokyo":66109,"miemu02":66098,"nme_audcat":64885,"nij19":59707,"bunka":59097,"NarahakuBijutsuinDB":54523,"nij15":50753,"madb_game":49684,"nij18":49599,"nij14":48888,"syozo":46696,"miemu01":45799,"nij03":45408,"nier_mode":44828,"nij21":44120,"minamata":43353,"nij02":43173,"enpk_ukiyoe":42862,"Showa_magazine":42129,"saitama_monjo_search":40117,"enpk_eigaphoto":39518,"hpmm_magazine":39368,"Showa_photo":36706,"photo":34721,"nij04":34346,"hpmm_book":33994,"miemug":33756,"rekibun":28023,"nin04":26182,"aokenshida_txt":26018,"nij07":22607,"rih01":21337,"aokenshida_doc":20990,"ukobe_s":20731,"u006":20391,"NarahakuImageDB":19816,"hpmm_abomb":19319,"a12345":18159,"Showa_record":17983,"aozora":17797,"nda01":17759,"nme_lib_serialpub":17468,"nij17":17438,"aokenshida_lib":17368,"wkym_koubunsyo":16765,"madb_mediaart":16670,"keioobjecthub":16480,"toyama_koshibun":16293,"osaka":12808,"kaizuArchive":12581,"wkym_kankoubutu":11663,"enpk_eigaprogram":10891,"rih02":8863,"nme_movcat":8485,"apmoa_mapps":8470,"tokei":8416,"nfad":8305,"aokenshida_pic":8130,"shimane_u":7514,"NarahakuBijutsuinDB2":7475,"ibaraki_u":7284,"sekigahara_archive":7166,"nme_umesaoWW":7030,"nij20":6936,"ryukoku":6601,"nme_ir":6535,"ojiya_dna":6304,"ukansai":6291,"nij06":6193,"hiroshima_u_7540":6032,"momo":5925,"artmuse":5915,"aokenshida_mat":5842,"maedatosa":5833,"jomon_archives":5747,"gakugei_archive":5689,"rih04":5632,"musee_gsj":5556,"sapporo":5403,"Showa_dmagazine":5380,"shisan":5053,"miemub":4994,"hpmm_abombdrawing":4846,"irc04":4819,"wkym_komonjyo":4749,"irc07":4735,"xm_okinoshima":4520,"ARC_maps":4455,"kyotogyoen_archives":4455,"MoMAS":4377,"saisei":4297,"bpcjd":4108,"epad_db":4010,"michi":4001,"nme_inada":3696,"cb1":3688,"hdm":3407,"yumeji":3397,"kyoto":3296,"nij09":3166,"u001":3077,"meiji_u":2865,"Koubun_das":2749,"nme_nakanisi":2729,"yamanashi":2728,"NarahakuCollectionDB":2696,"irc01":2687,"Showa_video":2678,"oitadigital_sages":2644,"jaccm":2581,"daito":2576,"nier_postw":2543,"sdcommons_npl":2516,"oitacityarchive":2411,"nij22":2390,"HMCA":2372,"chiba":2310,"tnricp_uritate":2303,"minakata":2268,"tdc_muse":2224,"Showa_map":2214,"yuma_001":2120,"tfam_art_db":2086,"hpmm_photo":2067,"saitama_digi_lib":2047,"hpmm_audio":2014,"irc03":1987,"minzoku":1963,"tnricp_odaka":1948,"mmc_mingu":1904,"sdcommons_npmh":1896,"tdc":1885,"irc05":1877,"gyosei":1828,"nmj03":1826,"uryukyu":1755,"sf004":1650,"bunkazai_video":1647,"wakayama_archives":1586,"tnricp_wada":1561,"doshisha":1538,"narabook":1533,"kochizu_collection":1525,"gunma":1514,"SHUGYOKU2":1459,"hischigasakicity":1434,"rih06":1418,"waseda_enpaku_jdta":1264,"jiyugakuen":1257,"Showa_chart":1247,"miebunkazai":1244,"KGU_koko":1242,"nakamura":1182,"kamakura":1176,"Polamuseumofart":1149,"oitadigital_library":1139,"irc06":1061,"hpmm_movie":1036,"enpk_adultfilmpress":982,"torohaku_shuuzouhin":934,"maibunb":915,"nin05":900,"nme_vtqcat":878,"jin":857,"hcmdb01":796,"bungakukan_yamanashi":795,"utatsu_kogei":760,"Showakan_material":752,"Amagasaki_Digital":720,"shusei":689,"chiba_u":686,"hpmm_testimony":680,"jcbj":675,"aomori":667,"tpada_bosatsu":628,"library":610,"niigata_banbi_db":586,"Arakawa_Furusato":527,"SHUGYOKU1":526,"Chigamu":515,"nanzan_museum":515,"jiyugakuen_np":480,"hpmm_art":473,"noh_museum":466,"Nhikie":441,"aichi":416,"machihaku":413,"Musical_Instruments":410,"NagoyaCity_Museum_hk":380,"miemu03":366,"saiku":364,"npmoa_narakenbi":359,"nin02":350,"TUAT_mayu":349,"ibaraki":345,"SCMHshizureki":323,"kuhi":313,"nme_kaufman":301,"nin03":300,"u011":287,"Showa_dbook":275,"TUAT_c":272,"waseda_enpaku_003":272,"Showa_other":268,"kinpaku":262,"lib":257,"kyoka":247,"moachigasakicity":243,"Showa_OH":242,"u002":235,"utokushima":214,"sanriku_da":212,"kennai":206,"wkym_shiryougun":201,"TUAT_rock":200,"TUAT_mineral":199,"terashima":193,"rih05":191,"u003":190,"moco_cs":176,"a1545100173162":175,"kyusan":175,"FC_cultural01":169,"nier_rare":168,"shudo":167,"papermuseum_tokyo":165,"sf003":165,"u004":154,"miyahakucollection":148,"rih03":148,"TUAT_kiito":136,"churaumi_d":120,"fukuikenichi":116,"yamagata":116,"suisan":114,"u005":109,"ueyamashumpei":109,"nier_orai":107,"waseda_enpaku_002":107,"maibun":105,"KU_01_00001":100,"tokushima":95,"iwate":88,"sdcommons_video":85,"sf001":82,"TUAT_teorikimokei":78,"irc02":76,"wh_okinoshima":66,"jafc":64,"moco_od":61,"daisetz":59,"chikuonki":51,"TUAT_mawata":44,"architecture":44,"TheMeijiPeriodonFilm":39,"smnh_003":38,"smnh_006":35,"smnh_005":31,"smnh_004":30,"kmis":27,"smnh_002":23,"FGKE":20,"edomura":13,"shinise":13,"nij08":11,"eigameetsshinengeki":9,"smnh_001":9,"TUAT_0005":8,"eigameetskabuki":4,"hpmm_sc":2},"key":"db"},{"counts":{"book":15360262,"science":6908654,"humanities":5935201,"official":4478852,"regional":1609926,"cultural":1559865,"art":983263,"pfart":269101,"movie":208600,"anime":175480,"media":92332,"broadcast":84016,"map":66822,"game":52940,"dataset":18159},"key":"cm"},{"counts":{"showa":6582457,"heisei":6425146,"meiji":1033255,"reiwa":1012151,"edo":862660,"taisyo":623704,"ancient":53331,"heian":33454,"kamakura":30856,"muromachi":24573,"nara":20203,"asuka":11448,"aduchi":9018},"key":"tempo"}],"from":0,"hit":32442488,"list":[{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/07965.jpg.webp"],"contributor":["エドゥアール・マネ","Édouard Manet"],"database":"tfam_art_db","dclass":"723","description":"入浴後に身繕いをしようとする女性と背後で準備する従者が描かれている。本作の着想についてはスペインの画家フランシスコ・デ・ゴヤ・イ・ルシエンテスの版画《ロス・カプリーチョス：彼女のために祈っている》の影響が取り沙汰されており、であればここで描かれるのは娼婦である。また別の可能性として、1861年にマネが妻シュザンヌをモデルにした《驚くニンフ》（アルゼンチン国立美術館蔵）の影響も指摘したい。同作は元々、《救い出されたモーゼ》と題した大作の一部として描かれ、角度は違うが、身体を布で隠し、こちらを向き驚くニンフの表情や女性のフォルムに本作との共通点を複数確認することができる。","id":"tfam_art_db-7965","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/07965/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["1905年、パリ","1905, Paris"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07965.jpg.webp"],"title":"身繕い（「マネ、30点のオリジナル・エッチング集」より）","titleEn":"The Toilette (Portfolio of 30 Original Etchings by Édouard Manet)","titleYomi":"みづくろい（「まね、30てんのおりじなる・えっちんぐしゅう」より）"},"id":"tfam_art_db-7965","rdfindex":{"spatial":["海外 > ヨーロッパ > フランス"],"temporal":["朝鮮・李氏朝鮮時代","明治","中国・清時代"],"type":["版画"]},"tfam_art_db-0-s":"7965","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":"身繕い（「マネ、30点のオリジナル・エッチング集」より）","tfam_art_db-11-s":"The Toilette (Portfolio of 30 Original Etchings by Édouard Manet)","tfam_art_db-12-s":"みづくろい（「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","tfam_art_db-15-s":"1905, Paris","tfam_art_db-16-s":"エッチング","tfam_art_db-17-s":"Etching","tfam_art_db-20-s":"入浴後に身繕いをしようとする女性と背後で準備する従者が描かれている。本作の着想についてはスペインの画家フランシスコ・デ・ゴヤ・イ・ルシエンテスの版画《ロス・カプリーチョス：彼女のために祈っている》の影響が取り沙汰されており、であればここで描かれるのは娼婦である。また別の可能性として、1861年にマネが妻シュザンヌをモデルにした《驚くニンフ》（アルゼンチン国立美術館蔵）の影響も指摘したい。同作は元々、《救い出されたモーゼ》と題した大作の一部として描かれ、角度は違うが、身体を布で隠し、こちらを向き驚くニンフの表情や女性のフォルムに本作との共通点を複数確認することができる。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/07965/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/07965.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07965.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01620.jpg.webp"],"contributor":["近景","Chikakage"],"database":"tfam_art_db","dclass":"210","description":"本作は、よく詰（つ）んだ板目肌に杢目が交じり美しく、直刃（すぐは）調の小丁字に直足が入った刃文が焼かれ、やや磨上（すりあ）げられてはいるが、身幅の広い堂々たる太刀姿を今に伝えている。細川護貞氏旧蔵。昭和25年（1950）、国の重要文化財に指定されている。","id":"tfam_art_db-1620","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01620/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["備前　南北朝時代　建武2年（1335）","Bizen Province, Nambokucho Period, Kenmu 2 (1335)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01620.jpg.webp"],"title":"［重要文化財］太刀　銘　備前國長船住近景／建武二年五月日","titleEn":"[Important Cultural Property] Tachi: Signed ‘Bizen-no-Kuni Osafune Ju Chikakage’ /‘Kenmu Ni-nen Go-gatsu Hi’ (May 1335)","titleYomi":"［じゅうようぶんかざい］たち　めい　びぜんのくにおさふねじゅうちかかげ／けんむにねんごがつひ"},"id":"tfam_art_db-1620","rdfindex":{"spatial":["日本"],"temporal":["中国・元時代","朝鮮・高麗時代"],"type":["刀剣"]},"tfam_art_db-0-s":"1620","tfam_art_db-1-s":"近景","tfam_art_db-2-s":"Chikakage","tfam_art_db-3-s":"ちかかげ","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"備前国（岡山県）は、平安時代から現在に至るまで日本刀の代表的な産地として、長い歴史と伝統を持つ。とりわけ平安・鎌倉・南北朝・室町の各時代には優れた名工を数多く輩出した。近景は、鎌倉時代後期に現れた長船派初期の巨匠光忠、長光に連なる名工で、その活躍期は鎌倉時代後期から南北朝時代にかけてである。長船派初期の作風は、当時の質実剛健な武士団の気風を反映して身幅（みはば）の広い猪首（いくび）風の太刀姿で、美しい板目（いため）・杢目（もくめ）肌の地肌に、匂（にお）い本位の純然たる丁字（ちょうじ）乱れを焼くなどの特徴がある。","tfam_art_db-9-s":"Bizen Province (Okayama Prefecture) has a long history and tradition as a typical region for the production of Japanese swords from the Heian period to the current day. The area produced many excellent craftsmen, particularly in the Heian, Kamakura, Nanboku-cho and Muromachi periods. In the foreground, the master craftsmen Mitsutada and Nagamitsu appeared in the late Kamakura period, in the early days of the Nagafune school. They were active from the late Kamakura to the Nanboku-cho period. The style of the early Nagafune school included tachi in the broad ikubi (“boar’s neck”, a short and wide point) style, allowing the simple and strong ethos of the warriors of the time to prosper. One of their characteristics included tempering a standard clove-shaped midare (a kind of hamon) temper line over a beautiful itame- or mokume-hada texture. ","tfam_art_db-10-s":"［重要文化財］太刀　銘　備前國長船住近景／建武二年五月日","tfam_art_db-11-s":"[Important Cultural Property] Tachi: Signed ‘Bizen-no-Kuni Osafune Ju Chikakage’ /‘Kenmu Ni-nen Go-gatsu Hi’ (May 1335)","tfam_art_db-12-s":"［じゅうようぶんかざい］たち　めい　びぜんのくにおさふねじゅうちかかげ／けんむにねんごがつひ","tfam_art_db-13-s":"1","tfam_art_db-14-s":"備前　南北朝時代　建武2年（1335）","tfam_art_db-15-s":"Bizen Province, Nambokucho Period, Kenmu 2 (1335)","tfam_art_db-16-s":"鉄、鍛造","tfam_art_db-17-s":"Iron, forged","tfam_art_db-18-s":"刃長79.2cm、反り2.2cm","tfam_art_db-19-s":"Blade length 79.2 cm, Sori (curvature) 2.2 cm","tfam_art_db-20-s":"本作は、よく詰（つ）んだ板目肌に杢目が交じり美しく、直刃（すぐは）調の小丁字に直足が入った刃文が焼かれ、やや磨上（すりあ）げられてはいるが、身幅の広い堂々たる太刀姿を今に伝えている。細川護貞氏旧蔵。昭和25年（1950）、国の重要文化財に指定されている。","tfam_art_db-21-s":"This piece has a beautiful mix of fine itame-hada (a kind of ‘grain’ on the surface of the blade) and mokume-hada (a hammered version of itame-hada), with a straight hamon (“blade pattern”) featuring small clove-shaped lines. Though slightly polished, this tachi is broad and imposing. It was previously owned by Mr. Morisada Hosokawa. It was designated an Important Cultural Property of Japan in 1950. ","tfam_art_db-22-s":"刀剣","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01620/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01620.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01620.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01521.jpg.webp"],"contributor":["越州窯","Yue-zhou Ware"],"database":"tfam_art_db","dclass":"751","description":"壺の上に楼閣をのせた器を神亭壺、魂瓶という。墓室の隅に置かれ、亡き人の魂が宿るところからその名が付けられている。この神亭壺は3層式で、各層には屋根がせり出し、屋根の上には鳥がいる。鳥は豊穣を意味するとともに、死者の魂を天空に運ぶ役目をすると考えられている。胴の周りには鬼面が5つ配されている。一種の魔除けである。この神亭壺は3～4世紀にのみみられ、南朝時代には姿を消す。","id":"tfam_art_db-1521","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01521/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["西晋（3世紀）","Western Jin dynasty (3 C.)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01521.jpg.webp"],"title":"青磁神亭壺","titleEn":"Buring Vase with Applied Decoration, Celadon","titleYomi":"せいじしんていこ"},"id":"tfam_art_db-1521","rdfindex":{"spatial":["海外 > アジア > 中国"],"temporal":["0201～0300年"],"type":["陶磁"]},"tfam_art_db-0-s":"1521","tfam_art_db-1-s":"越州窯","tfam_art_db-2-s":"Yue-zhou Ware","tfam_art_db-3-s":"えっしゅうよう","tfam_art_db-6-s":"中国","tfam_art_db-8-s":"後漢時代から南宋時代の窯。窯跡は、浙江省の上林湖を中心に分布。代表的な窯跡として、余姚窯（よようよう、寧波市慈渓市および余姚市）、寧波窯（ねいはよう、寧波市）、上虞窯（じょうぐよう、紹興市上虞市）などが知られている。後漢時代には青磁が生産されるようになり、三国時代から南北朝時代になると神亭壺など特色ある青磁が明器として作られた。唐時代後期から五代時代にかけては、実用器としての青磁が作られ、広く海外に輸出された。北宋時代後期には衰退に向かい、青磁生産の主体は龍泉窯に移る。","tfam_art_db-10-s":"青磁神亭壺","tfam_art_db-11-s":"Buring Vase with Applied Decoration, Celadon","tfam_art_db-12-s":"せいじしんていこ","tfam_art_db-13-s":"1","tfam_art_db-14-s":"西晋（3世紀）","tfam_art_db-15-s":"Western Jin dynasty (3 C.)","tfam_art_db-18-s":"高30.9cm、胴径19.2cm、底径11.2cm","tfam_art_db-19-s":"H 30.9 cm, Dia. 19.2 cm","tfam_art_db-20-s":"壺の上に楼閣をのせた器を神亭壺、魂瓶という。墓室の隅に置かれ、亡き人の魂が宿るところからその名が付けられている。この神亭壺は3層式で、各層には屋根がせり出し、屋根の上には鳥がいる。鳥は豊穣を意味するとともに、死者の魂を天空に運ぶ役目をすると考えられている。胴の周りには鬼面が5つ配されている。一種の魔除けである。この神亭壺は3～4世紀にのみみられ、南朝時代には姿を消す。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01521/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01521.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01521.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","regional"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"video","contentsUrl":["https://players.streaks.jp/fourmix/ce3425b1b3594dc196665f4190b2c011/index.html?m=0b4350c3659445ffaeba84fafde4f3cb"],"coordinates":{"lat":32.75031280517578,"lon":129.87789916992188},"database":"cb1","dclass":"198","description":"大野教会堂は、マルク・マリー・ド・ロ神父が建てた石造りの教会で、石を積みあげた外壁はド・ロ壁とよばれています。\rド・ロ神父は、1879年、長崎の外海村に主任司祭として赴任しました。外海は古くからキリスト教の信仰がさかんな地域で、17世紀の初めに江戸幕府が禁教令を出したあとも、信者たちはひそかに信仰をつづけていました。赴任後、村人のまずしいくらしを見たド・ロ神父は、1882年、信仰の拠点となる出津教会堂を建設します。翌年には、女性の自立を支援するための作業所として救助院を創設しました。その後も、外海の人々の生活向上のために力をつくしたので、人々から「ド・ロさま」とよばれ、したわれました。\r大野教会堂は、出津教会に来られない信者のために、ド・ロ神父が建てた教会堂です。\r出津教会堂と大野教会堂は、2018年に「長崎の教会群とキリスト教関連遺産」の構成資産として世界文化遺産に登録されました。","descriptionEn":"Ono Church sits on a hillside overlooking the Nagasaki coastline. This humble structure, built with stone walls and mud plaster, harkens back to the days of the Hidden Christians of Nagasaki, where a long-persecuted people worshipped a foreign religion in fear for their lives.  \r\rIn 1879, the French missionary Father Marco Marie de Rotz was sent to tend to the Christians in the coastal settlement of Sotome. Large numbers of Christians had lived in the area since the 16th century, but at the beginning of the 17th century, the shogunate outlawed Christianity, driving out missionaries, closing the country, and forcing believers to worship in secret. Twenty-five years after Japan was reopened to foreigners by American military threat, Father de Rotz arrived in Sotome to find Christians no longer actively persecuted, but nevertheless living in poverty. He decided to build the Shitsu Church as a focal point for their faith; Ono Church, north-west of Shitsu Church, was built for worshippers who couldn’t attend Shitsu Church because of the distance. \r\rThe simple stone structure is a testament to the poverty and endurance of these people, and the innovations that de Rotz brought with him: its distinctive stone walls, often referred to as doro walls, may have taken their name literally from “de Rotz,” or they could be named after the doro, or mud plaster consisting of lime, sand, clay, and crushed basalt, concocted by Father de Rotz to glue the wall together.\r\rFather de Rotz also established the Shitsu Aid Center to foster the independence of local women without husbands or male relatives to support them. The center now operates as a museum and shows the variety of industries he helped train these women in. Father de Rotz strived tirelessly to improve the lives of Sotome’s residents and was loved deeply by his congregation in return. \r\rThe two churches are designated Important Cultural Properties, and form part of the “Hidden Christian Sites in the Nagasaki Region” added to the UNESCO World Heritage list in 2018. Both churches are still used as places of worship and should be contacted in advance before visiting. The interior of the Ono Church is not open to the public.","id":"cb1-57300f41_183c_460d_a628_5ad9b722e8d9","lastUpdatedDate":1774429070056,"linkUrl":"https://cb.bunka.go.jp/ja/contents/57300f41-183c-460d-a628-5ad9b722e8d9","location":["長崎県長崎市"],"ownerOrg":"bunkazai","provider":"bunkazai","subCategory":["ダウンロード","二次利用可能"],"thumbnailUrl":["https://cb-contents.s3.ap-northeast-1.amazonaws.com/contents/ab87de42-3fda-4a5a-8665-a33e09dd47ef/ab87de42-3fda-4a5a-8665-a33e09dd47ef_thumbnail.jpg"],"title":"大野教会堂","titleEn":"Ono Church"},"id":"cb1-57300f41_183c_460d_a628_5ad9b722e8d9","cb1-0-s":"57300f41-183c-460d-a628-5ad9b722e8d9","cb1-1-u":"https://cb.bunka.go.jp/ja/contents/57300f41-183c-460d-a628-5ad9b722e8d9","cb1-2-s":"外観","cb1-3-s":"Exterior","cb1-4-s":"大野教会堂","cb1-5-s":"Ono Church","cb1-6-s":"長崎県長崎市","cb1-7-s":"Nagasaki City, Nagasaki Prefecture","cb1-8-s":"02-00004285","cb1-17-s":"1","cb1-18-s":"1","cb1-19-s":"動画","cb1-20-s":"6,14,23,27,26","cb1-21-s":"建物,冬,九州,重要文化財,世界遺産","cb1-22-s":"大野教会堂は、マルク・マリー・ド・ロ神父が建てた石造りの教会で、石を積みあげた外壁はド・ロ壁とよばれています。\rド・ロ神父は、1879年、長崎の外海村に主任司祭として赴任しました。外海は古くからキリスト教の信仰がさかんな地域で、17世紀の初めに江戸幕府が禁教令を出したあとも、信者たちはひそかに信仰をつづけていました。赴任後、村人のまずしいくらしを見たド・ロ神父は、1882年、信仰の拠点となる出津教会堂を建設します。翌年には、女性の自立を支援するための作業所として救助院を創設しました。その後も、外海の人々の生活向上のために力をつくしたので、人々から「ド・ロさま」とよばれ、したわれました。\r大野教会堂は、出津教会に来られない信者のために、ド・ロ神父が建てた教会堂です。\r出津教会堂と大野教会堂は、2018年に「長崎の教会群とキリスト教関連遺産」の構成資産として世界文化遺産に登録されました。","cb1-23-s":"Ono Church sits on a hillside overlooking the Nagasaki coastline. This humble structure, built with stone walls and mud plaster, harkens back to the days of the Hidden Christians of Nagasaki, where a long-persecuted people worshipped a foreign religion in fear for their lives.  \r\rIn 1879, the French missionary Father Marco Marie de Rotz was sent to tend to the Christians in the coastal settlement of Sotome. Large numbers of Christians had lived in the area since the 16th century, but at the beginning of the 17th century, the shogunate outlawed Christianity, driving out missionaries, closing the country, and forcing believers to worship in secret. Twenty-five years after Japan was reopened to foreigners by American military threat, Father de Rotz arrived in Sotome to find Christians no longer actively persecuted, but nevertheless living in poverty. He decided to build the Shitsu Church as a focal point for their faith; Ono Church, north-west of Shitsu Church, was built for worshippers who couldn’t attend Shitsu Church because of the distance. \r\rThe simple stone structure is a testament to the poverty and endurance of these people, and the innovations that de Rotz brought with him: its distinctive stone walls, often referred to as doro walls, may have taken their name literally from “de Rotz,” or they could be named after the doro, or mud plaster consisting of lime, sand, clay, and crushed basalt, concocted by Father de Rotz to glue the wall together.\r\rFather de Rotz also established the Shitsu Aid Center to foster the independence of local women without husbands or male relatives to support them. The center now operates as a museum and shows the variety of industries he helped train these women in. Father de Rotz strived tirelessly to improve the lives of Sotome’s residents and was loved deeply by his congregation in return. \r\rThe two churches are designated Important Cultural Properties, and form part of the “Hidden Christian Sites in the Nagasaki Region” added to the UNESCO World Heritage list in 2018. Both churches are still used as places of worship and should be contacted in advance before visiting. The interior of the Ono Church is not open to the public.","cb1-24-s":"長崎県,長崎市,九州地方,建造物,キリスト教,外観,屋外,無人,冬,九州,重要文化財","cb1-25-s":"Building,Christianity,Kyushu region,Nagasaki,Nagasaki Prefecture,No one,No people,Nobody,Outdoors,Winter,Kyushu,Important Cultural Properties,Japan","cb1-26-s":"H.264","cb1-27-s":"356800000","cb1-28-s":"60","cb1-29-s":"00:01:35","cb1-30-s":"4830","cb1-31-s":"2160","cb1-32-s":"2019/12/4 0:00","cb1-33-s":"いない","cb1-34-s":"横","cb1-35-s":"素材","cb1-36-s":"0","cb1-37-s":"すべての利用可能","cb1-40-s":"2020-03-31 03:42:02","cb1-contenttype-c":"video","cb1-contentright-c":"ccby"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/03811_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/03811_02.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/03811_03.jpg.webp"],"contributor":["歌川国貞","Utagawa Kunisada"],"database":"tfam_art_db","dclass":"721","id":"tfam_art_db-3811","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/03811/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["文政12年（1829）","1829 (Bunsei 12)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/03811_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/03811_02.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/03811_03.jpg.webp"],"title":"中村歌六の額の小さん、七代目市川団十郎の高崎甚内","titleEn":"The Actors Nakamura Karoku as Gaku no Kosan and Ichikawa Danjuro VII as Takasaki Jinnai"},"id":"tfam_art_db-3811","tfam_art_db-0-s":"3811","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":"中村歌六の額の小さん、七代目市川団十郎の高崎甚内","tfam_art_db-11-s":"The Actors Nakamura Karoku as Gaku no Kosan and Ichikawa Danjuro VII as Takasaki Jinnai","tfam_art_db-13-s":"2","tfam_art_db-14-s":"文政12年（1829）","tfam_art_db-15-s":"1829 (Bunsei 12)","tfam_art_db-16-s":"木版多色刷　大判錦絵二枚続","tfam_art_db-17-s":"Color woodblock print on paper (diptych)","tfam_art_db-18-s":"39.3×26.3cm、38.6×26.3cm","tfam_art_db-19-s":"39.3 x 26.3 cm, 38.6 x 26.3 cm","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/03811/","tfam_art_db-24-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/03811_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/03811_02.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/03811_03.jpg.webp"],"tfam_art_db-25-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/03811_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/03811_02.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/03811_03.jpg.webp"]},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/00856.jpg.webp"],"database":"tfam_art_db","dclass":"753","description":"漆塗りの仕上げと威しの手法が優れており、揺ぎ札の流行した江戸時代後期の希少な逸品である。兜をはじめ、鎧の各部に牡丹模様の金物が、また胴の前面には尾長島の藍染抜きの模様が施されている。全体に落ち着いた調子に統一され、極めて美しい鎧の一つである。","id":"tfam_art_db-856","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/00856/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["江戸時代後期（19世紀）","Late Edo Period (19th c.)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00856.jpg.webp"],"title":"揺ぎ札白綾威鎧　兜・大袖・小具足付","titleEn":"Suit of Armor Laced with White Twill","titleYomi":"ゆるぎざねしろあやおどしよろい　かぶと・おおそで・こぐそくつき"},"id":"tfam_art_db-856","rdfindex":{"temporal":["江戸時代"],"type":["武器"]},"tfam_art_db-0-s":"856","tfam_art_db-10-s":"揺ぎ札白綾威鎧　兜・大袖・小具足付","tfam_art_db-11-s":"Suit of Armor Laced with White Twill","tfam_art_db-12-s":"ゆるぎざねしろあやおどしよろい　かぶと・おおそで・こぐそくつき","tfam_art_db-13-s":"1","tfam_art_db-14-s":"江戸時代後期（19世紀）","tfam_art_db-15-s":"Late Edo Period (19th c.)","tfam_art_db-16-s":"鉄、革、葦、綾絹、漆、銅","tfam_art_db-17-s":"Iron, leather, reed, twilled silk, lacquer, copper","tfam_art_db-20-s":"漆塗りの仕上げと威しの手法が優れており、揺ぎ札の流行した江戸時代後期の希少な逸品である。兜をはじめ、鎧の各部に牡丹模様の金物が、また胴の前面には尾長島の藍染抜きの模様が施されている。全体に落ち着いた調子に統一され、極めて美しい鎧の一つである。","tfam_art_db-22-s":"武具","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/00856/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/00856.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00856.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","regional"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","coordinates":{"lat":35.0295295715332,"lon":135.75669860839844},"database":"cb1","dclass":"718","description":"大報恩寺は、十大弟子像や六観音像など、鎌倉時代（12～14世紀）を代表する仏像彫刻家たちの作品を数多く所蔵していることでも知られます。\r　十大弟子像は、運慶（？－1223）とともに東大寺南大門の金剛力士像を制作した快慶（生没年不詳）が、晩年に手がけた作品です。釈迦のそばに仕えた10人の弟子たちの像で、かつては、本堂に本尊の釈迦如来坐像をかこむように安置されていました。六観音像は、運慶の弟子だった定慶（生没年不詳）の作品です。六観音とは聖観音、千手観音、馬頭観音、十一面観音、准胝観音、如意輪観音の6体の観音様のことをいいます。鎌倉時代には六観音信仰がさかんで、六観音を一同にまつることが流行しました。そのすべてがそろっているのはたいへんめずらしく、重要文化財に指定されています。これらは境内にある霊宝殿で見ることができます。","descriptionEn":"Daihoonji, a Shingon Buddhist temple located in Kyoto, has a great number of Buddhist statuary in its possession dating from the Kamakura period (1185 - 1333). Particularly noteworthy are the statues of the Ten Great Disciples carved by Kaikei, famous for making the massive guardian statues that protect Nara’s Todaiji Temple. The Ten Great Disciples were formerly placed in the main worship hall, where they surrounded the seated Buddha statue that is the temple’s main votive object. The statues of the six forms of Kannon (bodhisattva of compassion) are by Jokei. Worship of the six Kannon became particularly popular during the Kamakura period and statues from this time display a realism that earlier statues lacked – for example, muscled bodies and inset crystals for eyes. It’s rare for a set of six to be kept together over the centuries, and these are designated Important Cultural Properties of Japan. Both sets of statues are stored safely in the temple’s reihoden treasure house, where it is on permanent display.","id":"cb1-5005c43f_3854_4686_8bcd_f53d5110b6e5","lastUpdatedDate":1774429070056,"linkUrl":"https://cb.bunka.go.jp/ja/contents/5005c43f-3854-4686-8bcd-f53d5110b6e5","location":["京都府京都市上京区"],"ownerOrg":"bunkazai","provider":"bunkazai","subCategory":["ダウンロード","二次利用可能"],"thumbnailUrl":["https://cb-contents.s3.ap-northeast-1.amazonaws.com/contents/b19f6dca-112b-4101-9efc-6e4ca36815b9/b19f6dca-112b-4101-9efc-6e4ca36815b9_thumbnail.jpg"],"title":"大報恩寺","titleEn":"Daihoonji Temple"},"id":"cb1-5005c43f_3854_4686_8bcd_f53d5110b6e5","cb1-0-s":"5005c43f-3854-4686-8bcd-f53d5110b6e5","cb1-1-u":"https://cb.bunka.go.jp/ja/contents/5005c43f-3854-4686-8bcd-f53d5110b6e5","cb1-2-s":"釈迦十大弟子像　集合","cb1-3-s":"Statues of Buddha's Ten Great Disciples","cb1-4-s":"大報恩寺","cb1-5-s":"Daihoonji Temple","cb1-6-s":"京都府京都市上京区","cb1-7-s":"Kyoto City, Kyoto Prefecture","cb1-8-s":"04-3463","cb1-16-s":"cp_s_26_004_342","cb1-17-s":"1","cb1-18-s":"0","cb1-19-s":"画像","cb1-20-s":"5,8,11,20,27","cb1-21-s":"彫刻,神社仏閣,春,関西,重要文化財","cb1-22-s":"大報恩寺は、十大弟子像や六観音像など、鎌倉時代（12～14世紀）を代表する仏像彫刻家たちの作品を数多く所蔵していることでも知られます。\r　十大弟子像は、運慶（？－1223）とともに東大寺南大門の金剛力士像を制作した快慶（生没年不詳）が、晩年に手がけた作品です。釈迦のそばに仕えた10人の弟子たちの像で、かつては、本堂に本尊の釈迦如来坐像をかこむように安置されていました。六観音像は、運慶の弟子だった定慶（生没年不詳）の作品です。六観音とは聖観音、千手観音、馬頭観音、十一面観音、准胝観音、如意輪観音の6体の観音様のことをいいます。鎌倉時代には六観音信仰がさかんで、六観音を一同にまつることが流行しました。そのすべてがそろっているのはたいへんめずらしく、重要文化財に指定されています。これらは境内にある霊宝殿で見ることができます。","cb1-23-s":"Daihoonji, a Shingon Buddhist temple located in Kyoto, has a great number of Buddhist statuary in its possession dating from the Kamakura period (1185 - 1333). Particularly noteworthy are the statues of the Ten Great Disciples carved by Kaikei, famous for making the massive guardian statues that protect Nara’s Todaiji Temple. The Ten Great Disciples were formerly placed in the main worship hall, where they surrounded the seated Buddha statue that is the temple’s main votive object. The statues of the six forms of Kannon (bodhisattva of compassion) are by Jokei. Worship of the six Kannon became particularly popular during the Kamakura period and statues from this time display a realism that earlier statues lacked – for example, muscled bodies and inset crystals for eyes. It’s rare for a set of six to be kept together over the centuries, and these are designated Important Cultural Properties of Japan. Both sets of statues are stored safely in the temple’s reihoden treasure house, where it is on permanent display.","cb1-24-s":"無人,春,重要文化財,関西,京都","cb1-25-s":"Cultural, Property, Cultural property, Kansai, Kyoto, No one, No people, Nobody, Spring","cb1-26-s":"JPG","cb1-27-s":"7520477","cb1-30-s":"8256","cb1-31-s":"6192","cb1-32-s":"2020/03/05","cb1-33-s":"いない","cb1-34-s":"横","cb1-35-s":"素材","cb1-36-s":"0","cb1-37-s":"すべての利用可能","cb1-40-s":"2020-09-30 08:45:50","cb1-contenttype-c":"image","cb1-contentright-c":"ccby"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01944.jpg.webp"],"contributor":["フランシスコ・デ・ゴヤ・イ・ルシエンテス","Francisco de Goya y Lucientes"],"database":"tfam_art_db","dclass":"723","description":"《恐れる者にとっては、影も恐怖である》との諺が付されている。漆黒の夜空にぬっと立つ、得体の知れない巨大な化け物と、おびえる兵士たちの群れ。不可解な“影”のようなものを盲目的に恐れる人間の愚かさが描かれる。兵士を描くのは、対仏独立戦争の忌まわしい記憶によるものであろう。","id":"tfam_art_db-1944","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01944/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["1864年出版（初版）","Published 1864 (first edition)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01944.jpg.webp"],"title":"妄/2　恐怖の妄","titleEn":"Nonsense, Plate 2: Folly of fear"},"id":"tfam_art_db-1944","tfam_art_db-0-s":"1944","tfam_art_db-1-s":"フランシスコ・デ・ゴヤ・イ・ルシエンテス","tfam_art_db-2-s":"Francisco de Goya y Lucientes","tfam_art_db-3-s":"ごや・い・るしえんてす、ふらんしすこ・で","tfam_art_db-4-s":"1746-1828","tfam_art_db-5-s":"1746-1828","tfam_art_db-6-s":"スペイン","tfam_art_db-7-s":"Spanish","tfam_art_db-8-s":"スペインを代表する画家、版画家で、首席宮廷画家。スペイン北東部サラゴーサ地方に生まれる。初めタピスリーの原画制作に従事していたが、ベラスケスを知り、真実を求める写実的傾向を強めていく。ゴヤの肖像画における写実主義は、しばしば鋭い心理描写にまで到達している。大胆な技法と鋭い心理洞察、特に版画に見られる幻想的特質は、ドラクロワを始めフランス・ロマン主義の画家に圧倒的な影響を及ぼした。","tfam_art_db-10-s":"妄/2　恐怖の妄","tfam_art_db-11-s":"Nonsense, Plate 2: Folly of fear","tfam_art_db-13-s":"1","tfam_art_db-14-s":"1864年出版（初版）","tfam_art_db-15-s":"Published 1864 (first edition)","tfam_art_db-16-s":"エッチング、アクアチント、バーニッシャー、ドライポイント（？）","tfam_art_db-17-s":"Etching, burnisher aquatint and drypoint(?)","tfam_art_db-18-s":"24.5×35.0cm","tfam_art_db-19-s":"24.5 x 35.0 cm","tfam_art_db-20-s":"《恐れる者にとっては、影も恐怖である》との諺が付されている。漆黒の夜空にぬっと立つ、得体の知れない巨大な化け物と、おびえる兵士たちの群れ。不可解な“影”のようなものを盲目的に恐れる人間の愚かさが描かれる。兵士を描くのは、対仏独立戦争の忌まわしい記憶によるものであろう。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01944/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01944.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01944.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://ibmuseum.mapps.ne.jp/files/9334/media_files/large/1512.jpg"],"contributor":["三代　歌川国貞","さんだい　うたがわくにさだ","Sandai UTAGAWA, Kunisada"],"database":"moachigasakicity","dclass":"728","description":"多色摺木版、紙","id":"moachigasakicity-1351","lastUpdatedDate":1679151600000,"linkUrl":"https://jmapps.ne.jp/chigasaki_art/det.html?data_id=1351","ownerOrg":"chigamu","provider":"茅ヶ崎市美術館","temporal":["1891(明治24)年"],"thumbnailUrl":["https://ibmuseum.mapps.ne.jp/files/9334/media_files/mid/1512.jpg"],"title":"希臘歴史経国美談主従邂逅の場"},"id":"moachigasakicity-1351","moachigasakicity-0-s":"1351","moachigasakicity-1-s":"希臘歴史経国美談主従邂逅の場","moachigasakicity-2-s":"三代　歌川国貞","moachigasakicity-3-s":"さんだい　うたがわくにさだ","moachigasakicity-4-s":"Sandai UTAGAWA, Kunisada","moachigasakicity-5-s":"1891(明治24)年","moachigasakicity-6-s":"多色摺木版、紙","moachigasakicity-7-s":"35.0","moachigasakicity-8-s":"46.5","moachigasakicity-9-s":"茅ヶ崎市美術館","moachigasakicity-10-d":"2023/03/19","moachigasakicity-11-u":"https://ibmuseum.mapps.ne.jp/files/9334/media_files/large/1512.jpg","moachigasakicity-12-u":"https://ibmuseum.mapps.ne.jp/files/9334/media_files/mid/1512.jpg","moachigasakicity-14-u":"https://jmapps.ne.jp/chigasaki_art/det.html?data_id=1351"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_6072_6072.jpg"],"database":"keioobjecthub","dclass":"210","description":"「唐蘭船持渡鳥獣之図」は「鳥之図」2帖、「獣類之図」「馬之図」「犬之図」各1帖の5帖からなる図譜である。江戸時代後期、寛保～嘉永年間（1741–1854）に中国船・オランダ船によって長崎に渡来した珍しい鳥獣を極彩色で描いた225図が収録されている。「獣類之図」に収められた象の図は、象使いの道具4図や種々の動きを描写した絵も一緒に収められ、当時の人々が象に対していかに大きな関心を抱いていたかを伝えている。長崎の代官や町年寄を務めた高木家は、寛文年間（1661–1673）より長崎に渡来した品々を幕府に報告する役目を命じられ、珍鳥異獣については御用絵師に正確な絵を描かせ、その絵を江戸へ送って鳥獣を届けるべきか幕府の判断を仰いでいた。高木家は手許に残した控図を巻物として秘蔵し、それを明治時代に折帖に改めたのが本図譜である。各図に鳥獣の種名、渡来年、出所（出生地）、雌雄、寸法などの情報が記され、江戸時代に渡来した動物の歴史を詳細に伝える本図譜は、博物学史上において大変貴重な資料とされている。昭和32年（1957）、松永安左ヱ門氏より寄贈された。（三田メディアセンター 倉持隆）\n","id":"keioobjecthub-6366","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/6366/2.1/manifest.json","lastUpdatedDate":1665586800000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/6366","ownerOrg":"keio_university","provider":"keioartcoll","temporal":["18–19世紀（江戸時代中–後期）"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_6072_6072.jpg"],"title":"唐蘭船持渡鳥獣之図","titleEn":"Animals and Birds Imported by the Chinese and the Dutch","titleYomi":"トウランセンモンモチワタリ　チョウジュウノズ"},"id":"keioobjecthub-6366","rdfindex":{"temporal":["江戸時代"],"type":["芸術・美術"]},"keioobjecthub-0-s":"6366","keioobjecthub-1-s":"唐蘭船持渡鳥獣之図","keioobjecthub-2-s":"Animals and Birds Imported by the Chinese and the Dutch","keioobjecthub-3-s":"トウランセンモンモチワタリ　チョウジュウノズ","keioobjecthub-4-d":"2022/10/13","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/6366","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_6072_6072.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/6366/2.1/manifest.json","keioobjecthub-13-s":"18–19世紀（江戸時代中–後期）","keioobjecthub-15-gs":"「唐蘭船持渡鳥獣之図」は「鳥之図」2帖、「獣類之図」「馬之図」「犬之図」各1帖の5帖からなる図譜である。江戸時代後期、寛保～嘉永年間（1741–1854）に中国船・オランダ船によって長崎に渡来した珍しい鳥獣を極彩色で描いた225図が収録されている。「獣類之図」に収められた象の図は、象使いの道具4図や種々の動きを描写した絵も一緒に収められ、当時の人々が象に対していかに大きな関心を抱いていたかを伝えている。長崎の代官や町年寄を務めた高木家は、寛文年間（1661–1673）より長崎に渡来した品々を幕府に報告する役目を命じられ、珍鳥異獣については御用絵師に正確な絵を描かせ、その絵を江戸へ送って鳥獣を届けるべきか幕府の判断を仰いでいた。高木家は手許に残した控図を巻物として秘蔵し、それを明治時代に折帖に改めたのが本図譜である。各図に鳥獣の種名、渡来年、出所（出生地）、雌雄、寸法などの情報が記され、江戸時代に渡来した動物の歴史を詳細に伝える本図譜は、博物学史上において大変貴重な資料とされている。昭和32年（1957）、松永安左ヱ門氏より寄贈された。（三田メディアセンター 倉持隆）\n","keioobjecthub-17-s":"慶應義塾美術品管理運用委員会","keioobjecthub-18-u":"https://jpsearch.go.jp/organization/keioartcoll","keioobjecthub-19-s":"制作年:18–19世紀（江戸時代中–後期）","keioobjecthub-23-s":"紙本着色","keioobjecthub-24-s":"KAC-2020-0492","keioobjecthub-26-s":"40.5×29.5cm","keioobjecthub-28-s":"慶應義塾所蔵美術作品","keioobjecthub-32-s":"三田キャンパス"},{"common":{"access":"PUBLIC","apiType":"ok","category":["official","book","humanities","cultural"],"contentsAccess":"internet","contentsRightsType":"pdm","contentsType":"image","contributor":["春農屋作","岳亭画","鶴屋喜右ェ門"],"database":"gakugei_archive","dclass":"721","id":"gakugei_archive-18505895","iiifUrl":"https://d-archive.u-gakugei.ac.jp/iiif/item/18505895/manifest.json","lastUpdatedDate":1774578964208,"linkUrl":"https://d-archive.u-gakugei.ac.jp/item/18505895","ownerOrg":"u_gakugei","provider":"東京学芸大学附属図書館","providerUrl":"https://lib.u-gakugei.ac.jp/","subCategory":["教育","大学"],"temporal":["江戸時代"],"thumbnailUrl":["https://d-archive.u-gakugei.ac.jp/iiif/2/library%2F18505895%2F0001.tif/full/220,/0/default.jpg"],"title":"新版狂歌江戸花見双六","titleYomi":"シンパン キョウカ エド ハナミ スゴロク"},"id":"gakugei_archive-18505895","gakugei_archive-3-s":"新版狂歌江戸花見双六","gakugei_archive-5-s":"jpn","gakugei_archive-9-s":["春農屋作","岳亭画"],"gakugei_archive-14-s":"文政8.1","gakugei_archive-15-s":"1825-01","gakugei_archive-20-s":"51×75cm","gakugei_archive-22-s":"新版狂歌江戸花見雙六","gakugei_archive-24-s":"鶴屋喜右ェ門","gakugei_archive-40-s":"加藤康子, 松村倫子編著『幕末・明治の絵双六』（国書刊行会, 2002）に掲載、解説あり","gakugei_archive-43-s":"江戸時代","gakugei_archive-47-s":"双六コレクション(東京学芸大学附属図書館)","gakugei_archive-49-s":"シンパン キョウカ エド ハナミ スゴロク","gakugei_archive-50-s":"shimpan kyoka edo hanami sugoroku","gakugei_archive-59-s":"絵双六","gakugei_archive-62-s":"Creative Commons CC0 1.0 Universal","gakugei_archive-69-s":"すごろく","gakugei_archive-71-s":"附属図書館","gakugei_archive-82-u":"https://d-archive.u-gakugei.ac.jp/item/18505895","gakugei_archive-83-u":"https://d-archive.u-gakugei.ac.jp/iiif/2/library%2F18505895%2F0001.tif/full/220,/0/default.jpg","gakugei_archive-84-u":"https://d-archive.u-gakugei.ac.jp/iiif/item/18505895/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"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/08748_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/08748_02.jpg.webp"],"contributor":["戯画堂芦ゆき","Gigado Ashiyuki"],"database":"tfam_art_db","dclass":"721","id":"tfam_art_db-8748","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/08748/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["文政10年（1827）","1827 (Bunsei 10)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08748_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08748_02.jpg.webp"],"title":"二代目嵐橘三郎の月本始之助、三代目嵐富三郎の娘かつら","titleEn":"The Actors Arashi Kitsusaburo as Tsukimoto Hajimenosuke and Arashi Tomisaburo III as Katsura"},"id":"tfam_art_db-8748","tfam_art_db-0-s":"8748","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":"二代目嵐橘三郎の月本始之助、三代目嵐富三郎の娘かつら","tfam_art_db-11-s":"The Actors Arashi Kitsusaburo as Tsukimoto Hajimenosuke and Arashi Tomisaburo III as Katsura","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　大判錦絵二枚続の右","tfam_art_db-17-s":"Color woodblock print on paper (diptych)","tfam_art_db-18-s":"39.6×27.0cm","tfam_art_db-19-s":"39.6 x 27.0 cm","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/08748/","tfam_art_db-24-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/08748_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/source/08748_02.jpg.webp"],"tfam_art_db-25-u":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08748_01.jpg.webp","https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/08748_02.jpg.webp"]},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/01574.jpg.webp"],"contributor":["景徳鎮窯","Jing-de-zhen Ware"],"database":"tfam_art_db","dclass":"751","description":"口縁部が不規則な輪花形の盤。内面の底部は、中央に赤地に白兎、周囲に白地に鳥が描かれ、地文様として稔花形に祥瑞文様が配されている。立ち上がり部に祥瑞文様と花卉文が配され、外面に花卉唐草文が描かれている。この作品のような特徴を持つ一群の五彩は、わが国では「色絵祥瑞」と呼ばれている。底裏には、二重圏線内に年紀といわゆる角福の青花銘。","id":"tfam_art_db-1574","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01574/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["明後期（17世紀）","Late Ming dynasty (17 C.)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01574.jpg.webp"],"title":"五彩鳥兎文輪花皿","titleEn":"Foliate Rimmed Dish with Design of Rabbit and Birds, Over-glaze Enamels","titleYomi":"ごさいとりうさぎもんりんかさら"},"id":"tfam_art_db-1574","rdfindex":{"spatial":["海外 > アジア > 中国"],"temporal":["中国・明時代"],"type":["陶磁"]},"tfam_art_db-0-s":"1574","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":"五彩鳥兎文輪花皿","tfam_art_db-11-s":"Foliate Rimmed Dish with Design of Rabbit and Birds, Over-glaze Enamels","tfam_art_db-12-s":"ごさいとりうさぎもんりんかさら","tfam_art_db-13-s":"1","tfam_art_db-14-s":"明後期（17世紀）","tfam_art_db-15-s":"Late Ming dynasty (17 C.)","tfam_art_db-18-s":"高3.5cm、口径20.0cm、底径15.3cm","tfam_art_db-19-s":"H 3.5 cm, Dia. 20.0 cm","tfam_art_db-20-s":"口縁部が不規則な輪花形の盤。内面の底部は、中央に赤地に白兎、周囲に白地に鳥が描かれ、地文様として稔花形に祥瑞文様が配されている。立ち上がり部に祥瑞文様と花卉文が配され、外面に花卉唐草文が描かれている。この作品のような特徴を持つ一群の五彩は、わが国では「色絵祥瑞」と呼ばれている。底裏には、二重圏線内に年紀といわゆる角福の青花銘。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01574/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/01574.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/01574.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/04361.jpg.webp"],"contributor":["歌川広重","Utagawa Hiroshige"],"database":"tfam_art_db","dclass":"291","description":"現在の愛知県名古屋市緑区にあたる。鳴海の名物であり地場産業でもあった有松絞りに因んだ図。街道沿いに建つ2軒の店はいずれも有松絞りを商う店である。2階建ての立派な蔵造りの店構えはこの村がいかに有松絞りで潤っていたかを窺わせる。手前の店を見ると客人が腰をかけ店主と何やら話にふけっており、暖簾には広重の「ヒロ」の組み合わせた家紋があしらわれている。2組の旅人たちはこうした店には目もくれず歩みを進めている。","id":"tfam_art_db-4361","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/04361/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["天保4-5年（1833-34）","1833-34 (Tenpo 4-5)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/04361.jpg.webp"],"title":"東海道五拾三次之内　鳴海 名物有松絞","titleEn":"Fifty-three Stations on the Tokaido: Famous Arimatsu Tie-dyed Fabrics at Narumi","titleYomi":"とうかいどうごじゅうさんつぎのうち　なるみ　めいぶつありまつしぼり"},"id":"tfam_art_db-4361","rdfindex":{"spatial":["日本"],"temporal":["1833～1834年"],"type":["版画"]},"tfam_art_db-0-s":"4361","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　鳴海 名物有松絞","tfam_art_db-11-s":"Fifty-three Stations on the Tokaido: Famous Arimatsu Tie-dyed Fabrics at Narumi","tfam_art_db-12-s":"とうかいどうごじゅうさんつぎのうち　なるみ　めいぶつありまつしぼり","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":"現在の愛知県名古屋市緑区にあたる。鳴海の名物であり地場産業でもあった有松絞りに因んだ図。街道沿いに建つ2軒の店はいずれも有松絞りを商う店である。2階建ての立派な蔵造りの店構えはこの村がいかに有松絞りで潤っていたかを窺わせる。手前の店を見ると客人が腰をかけ店主と何やら話にふけっており、暖簾には広重の「ヒロ」の組み合わせた家紋があしらわれている。2組の旅人たちはこうした店には目もくれず歩みを進めている。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/04361/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/04361.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/04361.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/06255.jpg.webp"],"contributor":["葛飾北斎","Katsushika Hokusai"],"database":"tfam_art_db","dclass":"721","description":"佃島は元々、隅田川の河口に自然にできた寄洲。徳川家康は幕府を江戸に置くにあたり、摂津国佃村の漁民を江戸に呼び寄せ、ここに漁村を作った。幕府は佃島の漁民たちに江戸近海で優先的に漁が出来る様な特権を与えて保護したといわれ、毎年冬から春にかけては白魚漁がさかんに行われ江戸風物のひとつとなった。西の空が夕暮れに染まる時間帯、人を乗せる船、物を乗せる船、漁船など、さまざまな用途の船が島の周囲を行き来している。","id":"tfam_art_db-6255","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/06255/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["天保1−天保3年（1830-32）頃","c. 1830-32(Tenpo 1-3)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/06255.jpg.webp"],"title":"冨嶽三十六景　武陽佃島","titleEn":"Thirty-six Views of Mount Fuji: Tsukudajima in Musashi Province","titleYomi":"ふがくさんじゅうろっけい　ぶようつくだじま"},"id":"tfam_art_db-6255","rdfindex":{"spatial":["日本"],"temporal":["1830～1832年"],"type":["版画"]},"tfam_art_db-0-s":"6255","tfam_art_db-1-s":"葛飾北斎","tfam_art_db-2-s":"Katsushika Hokusai","tfam_art_db-3-s":"かつしかほくさい","tfam_art_db-4-s":"宝暦10（1760）-嘉永2（1849）","tfam_art_db-5-s":"1760-1849","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"19歳の時に勝川春章に入門し、春朗と名乗る。師春章没後、勝川派を離れ、俵屋宗理を襲名。以後、戴斗、北斎、画狂人、為一、卍老人など30余り画号を使った。40歳半ばから曲亭馬琴著の『椿説弓張月』など、当時流行した読本挿絵を多く手がける。文化11年（1814）、絵手本をまとめた《北斎漫画》を発表。70歳代に入り、代表作《冨嶽三十六景》をはじめ錦絵の揃物を次々と版行。最晩年は肉筆画にも筆を揮った。","tfam_art_db-9-s":"At age 19, he became a disciple of Katsukawa Shunsho and took on the name Shunro. After his teacher Shunsho’s death, he left the Katsukawa school and adopted the name Tawaraya Sori. From then on, he used more than 30 artist names, including Taito, Hokusai, Gakyojin, Iitsu, and Manji Rojin. From his mid-40s he worked on many illustrations for popular literature at the time, such as Takizawa Bakin’s Strange Tales of the Crescent Moon. In 1814, he released Hokusai Manga, a compilation of illustrated models. Entering his 70s, he published series of color prints one after another, including his masterpiece, Thirty-six Views of Mount Fuji. In his later years, he also took up the brush and painted.","tfam_art_db-10-s":"冨嶽三十六景　武陽佃島","tfam_art_db-11-s":"Thirty-six Views of Mount Fuji: Tsukudajima in Musashi Province","tfam_art_db-12-s":"ふがくさんじゅうろっけい　ぶようつくだじま","tfam_art_db-13-s":"1","tfam_art_db-14-s":"天保1−天保3年（1830-32）頃","tfam_art_db-15-s":"c. 1830-32(Tenpo 1-3)","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":"25.2×37.3cm","tfam_art_db-19-s":"25.2 x 37.3 cm","tfam_art_db-20-s":"佃島は元々、隅田川の河口に自然にできた寄洲。徳川家康は幕府を江戸に置くにあたり、摂津国佃村の漁民を江戸に呼び寄せ、ここに漁村を作った。幕府は佃島の漁民たちに江戸近海で優先的に漁が出来る様な特権を与えて保護したといわれ、毎年冬から春にかけては白魚漁がさかんに行われ江戸風物のひとつとなった。西の空が夕暮れに染まる時間帯、人を乗せる船、物を乗せる船、漁船など、さまざまな用途の船が島の周囲を行き来している。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/06255/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/06255.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/06255.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"restricted","category":["cultural","book","humanities"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12713_12713.jpg"],"contributor":["沢庵宗彭"],"database":"keioobjecthub","dclass":"188","id":"keioobjecthub-562","iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/562/2.1/manifest.json","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/562","ownerOrg":"keio_university","provider":"斯道文庫","temporal":["AD17"],"thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12713_12713.jpg"],"title":"沢庵宗彭筆書状","titleEn":"Letter by Takuan Soho","titleYomi":"タクアンソウホウヒツショジョウ"},"id":"keioobjecthub-562","rdfindex":{"temporal":["1601～1700年"],"type":["芸術・美術"]},"keioobjecthub-0-s":"562","keioobjecthub-1-s":"沢庵宗彭筆書状","keioobjecthub-2-s":"Letter by Takuan Soho","keioobjecthub-3-s":"タクアンソウホウヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/562","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12713_12713.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/562/2.1/manifest.json","keioobjecthub-12-s":"沢庵宗彭","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:沢庵宗彭","keioobjecthub-24-s":"AW-CEN-000660-0000","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）","keioobjecthub-32-s":"斯道文庫"},{"common":{"access":"PUBLIC","apiType":"ok","category":["regional","book","map"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsUrl":["https://www.lib.pref.saitama.jp/digi/opac/switch-detail-iccap.do?bibid=1416906585#material"],"contributor":["〔出版者不明〕"],"database":"saitama_digi_lib","dclass":"291","id":"saitama_digi_lib-1416906585","lastUpdatedDate":1781020848993,"linkUrl":"https://www.lib.pref.saitama.jp/digi/opac/switch-detail-iccap.do?bibid=1416906585","ownerOrg":"saitamapref","provider":"Saitama_lib","subCategory":["埼玉県","埼玉県立図書館"],"temporal":["１８４２．４"],"thumbnailUrl":["https://www.lib.pref.saitama.jp/iipsrv/iipsrv.fcgi?IIIF=/1416906585/000000001.tif/full/500,/0/default.jpg"],"title":"日光山御社参之節房川渡シ御船橋絵図","titleYomi":"ニッコウサン　ゴシャサン　ノ　セツ　ボウセン　ワタシ　オフネバシ　エズ"},"id":"saitama_digi_lib-1416906585","saitama_digi_lib-rdf:RDF":{"dcndl:BibResource_rdf:about-u":"https://www.lib.pref.saitama.jp/digi/opac/switch-detail-iccap.do?bibid=1416906585#material","dcndl:BibResource":{"dcterms:title-s":"日光山御社参之節房川渡シ御船橋絵図","dc:title":{"rdf:Description":{"dcndl:transcription-s":"ニッコウサン　ゴシャサン　ノ　セツ　ボウセン　ワタシ　オフネバシ　エズ"}},"dcterms:publisher":{"foaf:Agent":{"foaf:name-s":"〔出版者不明〕"}},"dcterms:date-s":"１８４２．４","rdfs:seeAlso_rdf:resource-u":"https://www.lib.pref.saitama.jp/digi/opac/switch-detail-iccap.do?bibid=1416906585","foaf:thumbnail_rdf:resource-u":"https://www.lib.pref.saitama.jp/iipsrv/iipsrv.fcgi?IIIF=/1416906585/000000001.tif/full/500,/0/default.jpg","dcterms:rights-s":"表示 4.0 国際 (CC BY 4.0)"}},"saitama_digi_lib-id-s":"1416906585","saitama_digi_lib-rights-c":"ccby"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","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"],"contributor":["作者不詳","Artist Unknown"],"database":"tfam_art_db","dclass":"913","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。","id":"tfam_art_db-657","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/00657/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["江戸時代前期（17世紀）","Early Edo Period (17th c.)"],"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"],"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"},"id":"tfam_art_db-657","rdfindex":{"temporal":["江戸時代"],"type":["絵画"]},"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"]},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/04366.jpg.webp"],"contributor":["歌川広重","Utagawa Hiroshige"],"database":"tfam_art_db","dclass":"291","description":"現在の三重県鈴鹿市にあたる。本シリーズの白眉の一枚。「白雨」とは夕立のこと。手前に置かれた急勾配の坂を必死に駆け登る駕籠かきと、転がり落ちるように下る旅人と農夫が描かれる。坂と直角に交差して降り注ぐ雨脚の描写、どす黒い雨雲を思わせる空のぼかし、雨の飛沫に煙る竹林の濃淡のシルエット、全てが激しい夕立の場面を見事に演出している。旅人の番傘に版元を示す「竹のうち」や「五十三次」とデザインされているのも面白い。","id":"tfam_art_db-4366","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/04366/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["天保4-5年（1833-34）","1833-34 (Tenpo 4-5)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/04366.jpg.webp"],"title":"東海道五拾三次之内　庄野 白雨","titleEn":"Fifty-three Stations on the Tokaido: Evening Squall at Shono","titleYomi":"とうかいどうごじゅうさんつぎのうち　しょうの　はくう"},"id":"tfam_art_db-4366","rdfindex":{"spatial":["日本"],"temporal":["1833～1834年"],"type":["版画"]},"tfam_art_db-0-s":"4366","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　庄野 白雨","tfam_art_db-11-s":"Fifty-three Stations on the Tokaido: Evening Squall at Shono","tfam_art_db-12-s":"とうかいどうごじゅうさんつぎのうち　しょうの　はくう","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":"現在の三重県鈴鹿市にあたる。本シリーズの白眉の一枚。「白雨」とは夕立のこと。手前に置かれた急勾配の坂を必死に駆け登る駕籠かきと、転がり落ちるように下る旅人と農夫が描かれる。坂と直角に交差して降り注ぐ雨脚の描写、どす黒い雨雲を思わせる空のぼかし、雨の飛沫に煙る竹林の濃淡のシルエット、全てが激しい夕立の場面を見事に演出している。旅人の番傘に版元を示す「竹のうち」や「五十三次」とデザインされているのも面白い。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/04366/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/04366.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/04366.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/09112.jpg.webp"],"contributor":["歌川国芳","Utagawa Kuniyoshi"],"database":"tfam_art_db","dclass":"913","description":"江戸時代の相撲界では、地方から巨人や怪童を集めてきて、一人土俵入りをさせる興行があった。鬼若力之助もその一人で、上総国武射郡（現在の千葉県山武市）の出身である。鬼若が怪童力士として初土俵を踏んだのは1850年11月。添え書きには当時八歳、身の丈四尺(121cm)、体重十八貫目(68kg)あったと書かれている。こうした子ども力士の多くは、その後正規の力士とならずに引退したが、鬼若は明治5年3月に入幕し、明治7年には「勝ノ浦与一右エ門」と改名し、明治16年5月まで場所をつとめた。最高位は東前頭筆頭。","id":"tfam_art_db-9112","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/09112/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["嘉永期（1848–54）","1848-54 (Kaei era)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/09112.jpg.webp"],"title":"鬼若力之助","titleEn":"Oniwaka Rikinosuke","titleYomi":"おにわかりきのすけ"},"id":"tfam_art_db-9112","rdfindex":{"spatial":["日本"],"temporal":["1848～1854年"],"type":["版画"]},"tfam_art_db-0-s":"9112","tfam_art_db-1-s":"歌川国芳","tfam_art_db-2-s":"Utagawa Kuniyoshi","tfam_art_db-3-s":"うたがわくによし","tfam_art_db-4-s":"寛政9（1797）-文久1（1861）","tfam_art_db-5-s":"1797-1861","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"12歳の頃に描いた鍾馗図が初代歌川豊国の目に止まり、程なく豊国門に入る。20代は不遇の時を過ごすが、31歳の頃、《通俗水滸伝豪傑百八人之一個》を版行。これが人気を呼び、「武者絵の国芳」と称された。役者絵、美人画、風景画と何でもこなしたが、中でも3枚続のパノラマな構図の武者絵や歴史画、ウィットに富んだ戯画は大衆の心をつかんだ。親分肌な人柄から落合芳幾、月岡芳年、河鍋暁斎ら多くの優秀な門人を集めた。","tfam_art_db-9-s":"Attracted the attention of Utagawa Toyokuni I with his drawing of Zhong Kui (Shoki) at age twelve, and soon became a disciple of Toyokuni’s. He fell on hard times in his 20s, but at 31 published One hundred and eight heroes of the popular Suikoden. This gained him popularity, and he came to be called “Warrior Print Kuniyoshi”. He did everything well, from actors and beautiful women to landscapes, but in particular, his triptych panoramas of warriors or historical scenes as well as his witty caricatures snatched the hearts of the general public. He gathered many excellent pupils with his natural leadership, including Ochiai Yoshiiku, Tsukioka Yoshitoshi, and Kawanabe Kyosai.","tfam_art_db-10-s":"鬼若力之助","tfam_art_db-11-s":"Oniwaka Rikinosuke","tfam_art_db-12-s":"おにわかりきのすけ","tfam_art_db-13-s":"1","tfam_art_db-14-s":"嘉永期（1848–54）","tfam_art_db-15-s":"1848-54 (Kaei era)","tfam_art_db-16-s":"木版多色刷　大判錦絵","tfam_art_db-17-s":"Color woodblock print on paper","tfam_art_db-18-s":"37.2×25.5cm","tfam_art_db-19-s":"37.2 x 25.5 cm","tfam_art_db-20-s":"江戸時代の相撲界では、地方から巨人や怪童を集めてきて、一人土俵入りをさせる興行があった。鬼若力之助もその一人で、上総国武射郡（現在の千葉県山武市）の出身である。鬼若が怪童力士として初土俵を踏んだのは1850年11月。添え書きには当時八歳、身の丈四尺(121cm)、体重十八貫目(68kg)あったと書かれている。こうした子ども力士の多くは、その後正規の力士とならずに引退したが、鬼若は明治5年3月に入幕し、明治7年には「勝ノ浦与一右エ門」と改名し、明治16年5月まで場所をつとめた。最高位は東前頭筆頭。","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/09112/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/09112.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/09112.jpg.webp"}]}