{"list":[{"id":"cobas-47471","common":{"id":"cobas-47471","title":"伝名和長年像","titleEn":"Portrait Traditionally Identified as Nawa Nagatoshi","titleYomi":"でんなわながとしぞう","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-10472","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-10472/image/slideshow_s/A-10472_A-10472-02.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-10472/image/slideshow_s/A-10472_A-10472-02.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

本図は南北朝時代の武将、名和長年の肖像画と伝わる。しかし、近年は能登畠山(はたけやま)氏に関係する人物、あるいは馬術家で知られる武将、斎藤好玄(さいとうよしはる)（1500－1572）とも考えられている。編み込まれたたてがみの描写が細やかな暴れ馬は、像主の愛馬であろう。(140102_h21・22初詣)

","contributor":["長谷川等伯筆","By Hasegawa Tōhaku (1539–1610)","東京国立博物館","Tokyo National Museum"],"temporal":["安土桃山時代・16世紀","Azuchi-Momoyama period, 16th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["安土桃山時代"]},"cobas-0-s":"47471","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-10472","cobas-2-s":"A-10472","cobas-3-s":"重要文化財","cobas-4-s":"絵画","cobas-5-s":"伝名和長年像","cobas-6-s":"でんなわながとしぞう","cobas-7-s":"1幅","cobas-8-s":"長谷川等伯筆","cobas-11-s":"安土桃山時代・16世紀","cobas-12-s":"絹本着色","cobas-13-s":"82.4×39.0","cobas-16-s":"東京国立博物館","cobas-17-h":"

本図は南北朝時代の武将、名和長年の肖像画と伝わる。しかし、近年は能登畠山(はたけやま)氏に関係する人物、あるいは馬術家で知られる武将、斎藤好玄(さいとうよしはる)（1500－1572）とも考えられている。編み込まれたたてがみの描写が細やかな暴れ馬は、像主の愛馬であろう。(140102_h21・22初詣)

","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-10472/image/slideshow_s/A-10472_A-10472-02.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"18150","cobas-22-s":"47471","cobas-29-s":"絵画:日本:近世絵画","cobas-30-s":"Important Cultural Property","cobas-31-s":"Painting","cobas-32-s":"Portrait Traditionally Identified as Nawa Nagatoshi","cobas-34-s":"By Hasegawa Tōhaku (1539–1610)","cobas-37-s":"Azuchi-Momoyama period, 16th century","cobas-38-s":"Color on silk","cobas-42-s":"Tokyo National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-57486","common":{"id":"cobas-57486","title":"平家納経 厳王品 第二十七（模本） 松永本","titleEn":"Copy of Chapter 27 of the Lotus Sutra, One of the Sutras Donated by the Heike Clan (Matsunaga Version)","titleYomi":"へいけのうきょう ごんのうぼん　もほん","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-2438","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-2438/image/slideshow_s/B-2438_E0040306.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/B-2438/image/slideshow_s/B-2438_E0040306.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

田中親美は、「平家納経」全33巻の模本を5組作ったことが確認されています。本作はその5組とは別に、「厳王品」1巻のみ制作したものと考えられます。実業家で茶人だった松永耳庵（安左エ門、1875～1971）が所蔵していました。ルビ：まつながじあん、やすざえもん

","descriptionEn":"

Tanaka Shinbi made five complete reproductions of all 33 scrolls of the [Sutras Donated by the Heike Clan]. He probably made this copy of chapter 27 of the [Lotus Sutra] separately from those five complete reproductions.

","contributor":["田中親美模写","Copied by Tanaka Shinbi (1875-1975)","松永安左エ門氏寄贈","Gift of Mr. Matsunaga Yasuzaemon","東京国立博物館","Tokyo National Museum"],"temporal":["大正～昭和時代・20世紀、原本：平安時代・長寛2年(1164)","Taishō-Shōwa era, 20th century; original: Heian period, 1164 (Chōkan 2)"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["書跡"],"temporal":["大正～昭和時代","平安時代"]},"cobas-0-s":"57486","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-2438","cobas-2-s":"B-2438","cobas-4-s":"書跡","cobas-5-s":"平家納経 厳王品 第二十七（模本） 松永本","cobas-6-s":"へいけのうきょう ごんのうぼん　もほん","cobas-7-s":"1巻","cobas-8-s":"田中親美模写","cobas-11-s":"大正～昭和時代・20世紀、原本：平安時代・長寛2年(1164)","cobas-12-s":"彩箋墨書","cobas-15-s":"松永安左エ門氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"

田中親美は、「平家納経」全33巻の模本を5組作ったことが確認されています。本作はその5組とは別に、「厳王品」1巻のみ制作したものと考えられます。実業家で茶人だった松永耳庵（安左エ門、1875～1971）が所蔵していました。ルビ：まつながじあん、やすざえもん

","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-2438/image/slideshow_s/B-2438_E0040306.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"33013","cobas-22-s":"57486","cobas-29-s":"書跡:分類:典籍:仏典","cobas-31-s":"Calligraphy","cobas-32-s":"Copy of Chapter 27 of the Lotus Sutra, One of the Sutras Donated by the Heike Clan (Matsunaga Version)","cobas-34-s":"Copied by Tanaka Shinbi (1875-1975)","cobas-37-s":"Taishō-Shōwa era, 20th century; original: Heian period, 1164 (Chōkan 2)","cobas-38-s":"Ink on decorated paper","cobas-41-s":"Gift of Mr. Matsunaga Yasuzaemon","cobas-42-s":"Tokyo National Museum","cobas-43-h":"

Tanaka Shinbi made five complete reproductions of all 33 scrolls of the [Sutras Donated by the Heike Clan]. He probably made this copy of chapter 27 of the [Lotus Sutra] separately from those five complete reproductions.

","cobas-46-s":"Calligraphy:Category:Books:Buddhist texts"},{"id":"keioobjecthub-1603","common":{"id":"keioobjecthub-1603","title":"耳底記","titleEn":"Jiteiki","titleYomi":"ジテイキ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/1603","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15820_15820.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15820_15820.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1603/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"　中世の歌学を江戸時代に伝えた、高名な武将歌人細川幽斎（1534–1610）の歌道の教えを、弟子の公家烏丸光広（1579–1638）が、慶長三年八月から幽斎の田辺籠城を挟む同七年十二月まで、70回以上にわたって記録した聞書の自筆原本である。質素な茶表紙の中央に光広の手で「耳底記」と記され、裏表紙にも同筆で「一二記」とある。前遊紙裏に光広花押が書かれ、内題は「幽斎口義　光廣記之」とある。1丁目表のみ平仮名書きで、同丁裏以降は速筆できる片仮名書きである。墨色は転変して墨滅も目立ち、末尾に白紙も多く残るなど、原本の趣をよく示している。系統立たない雑多な歌話の集成であるが、幽斎の動静とともに、幽斎が学んだ三条西家の正統的な歌学思想がうかがえる貴重な資料である。\n\n　本書の「耳底記　光廣卿自筆」との箱書は、飛鳥井雅章（1611–79）筆と思われ、天理図書館蔵本の飛鳥井家蔵自筆本を写したとする安永五年（1776）の烏丸光祖奥書の記述と整合する。（佐々木）\n\n［参考文献］大谷俊太『和歌史の「近世」─道理と余情─』ぺりかん社、2007年／\n\n　『耳底記』は細川幽斎（1534–1610）・烏丸光広（1579–1638）師弟の高名さもあって尊重され、写本も少なくなく、版本も寛文元年（1661）・元禄二年（1689）・同十五年（「和歌奥義抄」）本や数種の無刊記本などの多数を確認できる。公家関係の歌書が江戸前期に刊行された珍しい例として注目されるものである。\n\n　本書は伝本の多い、末尾に「林和泉掾開版」とのみある刊本である。初丁表の解題と凡例的な文章には、俗言は改めずに、片仮名は童蒙の為に平仮名に改めたこと、部分的な歌の引用を一首全体の形にしたこと等が記される。また自筆本の外題と花押を透き写しして「首に冠らしむ」とある通り、初丁裏にそれらが模刻されている。刊行に際して3巻に分かっており、本文冒頭に「耳底記巻之一（二・三）」との内題も加えられている。自筆本との最大の違いは、「光廣卿別紙」にあるという「詠歌制之詞」を追加していることである。自筆本との比較ができるように、一具として保管されてきたものである。（佐々木）\n\n［参考文献］小松茂美『古筆学大成』第6巻、講談社、1989年\n\n文字景 —— センチュリー赤尾コレクションの名品にみる文と象」展（2021.4 慶應義塾ミュージアム・コモンズ）図録 掲載\n","descriptionEn":"This is an original manuscript by the court noble KARASUMARU Mitsuhiro (1579–1638), who recorded the teachings in poetry of his instructor HOSOKAWA Yūsai (1534–1610), a high-ranking general and poet who introduced medieval poetry to a wide audience in the Edo period (1603–1868), over 70 times from the eighth month of the third year of Keichō (1598) until the twelfth month of the seventh year of the same era (1602) at Tanabe Castle. The title of the manuscript, Deep in the Ear, appears at the center of the simple brown cover of the manuscript, and on the back there is “ichi ni ki” in the same handwriting. Mitsuhiro’s seal appears on the reverse side of the cover page, and the title inside the book reads: “Yusai’s lectures recorded by Mitsuhiro.” Only the cover is inscribed with hiragana script, while the back and subsequent pages are written in katakana, which could be written more quickly than hiragana. The ink color has changed and there is noticeable loss of ink and a lot of blank paper at the end, all clear indications of an original. Although Deep in the Ear is a collection of miscellaneous waka poetics arranged in an unsystematic way, it is a valuable source about Yūsai's ideas and the orthodox thought on poetry of the Sanjō-Nishike family, with whom he studied. The calligraphy of the box of this manuscript, which reads “Deep in the Ear, in the handwriting of Lord Mitsuhiro,” is thought have been inscribed by ASUKAI Masaaki (1611–79), and is consistent with the colophon by KARASUMARU Mitsumoto in the Asukai family’s own handwritten manuscript from the fifth year of the An’ei era (1776) in the Tenri Library Collection. ／\n\nDeep in the Ear was highly valued due to the eminent reputations of HOSOKAWA Yūsai (1534–1610) and his disciple KARASUMARU Mitsuhiro (1579–1638), and many manuscripts of the text are still extant. There are also printed editions from the first year of the Kanbun era (1661), the second year of the Genroku era (1689), the fifteenth year of the same era (1702), and several unpublished printed editions. This edition is noteworthy as a rare example of a printed book on poetry related to court nobles from the early Edo period (1603–1868). It is one of many printed editions of the book that has been handed down from generation to generation, and was published with the text “Hayashi Izumi no jō edition” at the end. The preface states that common words were left unchanged, katakana was changed to hiragana for the sake of children, and quotations from poems were transcribed as complete poems instead. Also, the signature and seal found on the back of the first page of the book can be traced back to the original. At the time of publication, this edition was divided into three volumes, and the titles “volume one, two and three of Deep in the Ear,” can be found at the beginning of the books. The biggest difference between this printed edition and the original manuscript is the addition of a list of prohibited words in composing poetry, which is said to have been transcribed from an appendix by Mitsuhiro. The printed editions are displayed here as one set, so they can be compared with Mitsuhiro’s manuscript.\n\nDescription from the exhibition Catalogue "Letter-scape: Century Akao Collection, A World of Letters and Figures", Keio Museum Commons, April 2021\n","contributor":["烏丸光広"],"temporal":["慶長三−七年 （1598−1602）"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"1603","keioobjecthub-1-s":"耳底記","keioobjecthub-2-s":"Jiteiki","keioobjecthub-3-s":"ジテイキ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/1603","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15820_15820.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/1603/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"慶長三−七年 （1598−1602）","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:慶長三−七年 （1598−1602）","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-23-s":"紙本墨書","keioobjecthub-24-s":"AW-CEN-002558-0000","keioobjecthub-26-s":"23.3×20.3","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"斯道文庫"},{"id":"keioobjecthub-803","common":{"id":"keioobjecthub-803","title":"烏丸光広筆二条城行幸和歌懐紙","titleEn":"Waka Kaishi upon Emperor’s Visit to the Nijo Castle","titleYomi":"カラスマルミツヒロヒツニジョウジョウギョウコウワカカイシ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/803","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15377_15377.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15377_15377.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/803/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"後水尾天皇〈ごみずのおてんのう・1596-1680〉の二条城行幸は、寛永３年〈1626〉９月６日より５日間、執り行なわれた。その華麗な行粧と、舞楽・和歌・管弦・能楽などの盛大な催しの様子は、『寛永行幸記』『徳川実紀』などに詳述されている。この懐紙は、二条城行幸の時の徳川秀忠〈とくがわひでただ・1579-1632〉・家光〈いえみつ・1604-51〉・後水尾天皇の詠歌を、烏丸光広〈からすまるみつひろ・1579-1638〉が書き留めたもの。光広はこのとき48歳、和歌会の講師を務めた。「「竹、遐年を契る」ということを詠める和歌／左大臣源秀忠／呉竹のよろづ代までとちぎるかなあふぐにあかぬ君がみゆきを／右大臣源家光／御幸するわが大きみは千代ふべきちひろの竹をためしとぞおもふ／御製／もろこしの鳥もすむべき呉竹のすぐなる代こそかぎり知られね」","descriptionEn":"The visit by Emperor GoMizuno-o (1596-1680) to the Nijo Castle was a five-day extravaganza, starting on September 6, 1626．The supreme leader of the nation was entertained at the Nijo Castle built by the military ruler, or shogun. The gala event was marked by performances of bugaku (ancient sacred dance and music dedicated to shrines), poetry parties and concerts of instrumental music and performances of Noh theatre. The extravaganza is described in great detail in the Record of Emperor’s Visit in the Kannei Era (Jap. Kannei Gyoko-Ki) and other documents. The exhibited kaishi, written by Karasumaru Mitsuhiro (1579-1638), shows poems by General Tokugawa Hidetada (1579-1632), his son Iemitsu (1604-51) and Emperor GoMizuno-o. Mitsuhiro, aged 48 then, served the important office of the reader, a person who sonorously reads out the poems just composed by the participating dignitaries.","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"803","keioobjecthub-1-s":"烏丸光広筆二条城行幸和歌懐紙","keioobjecthub-2-s":"Waka Kaishi upon Emperor’s Visit to the Nijo Castle","keioobjecthub-3-s":"カラスマルミツヒロヒツニジョウジョウギョウコウワカカイシ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/803","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15377_15377.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/803/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-001869-0000","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"},{"id":"cobas-57907","common":{"id":"cobas-57907","title":"山水画賛","titleEn":"Landscape with Inscription","titleYomi":"さんすいがさん","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-3156","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-3156/image/slideshow_s/B-3156_C0032625.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/B-3156/image/slideshow_s/B-3156_C0032625.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

　江戸時代初期の公卿で歌人・能書として知られる烏丸光広【からすまるみつひろ】の描く山水画に、大徳寺第153代の住持沢庵宗彭【たくあんそうほう】が｢太崋萬餘丈、三星遶月處｣の賛と自署を加えたもの。光広とその参禅の師である沢庵との交流を物語るものとして重要である。　　

","contributor":["沢庵宗彭筆、烏丸光広画","By Takuan Soho (1573-1645), inscription by Karasumaru Mitsuhiro (1579-1638)","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・17世紀","Edo period, 17th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["書跡"],"temporal":["江戸時代"]},"cobas-0-s":"57907","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-3156","cobas-2-s":"B-3156","cobas-4-s":"書跡","cobas-5-s":"山水画賛","cobas-6-s":"さんすいがさん","cobas-7-s":"1幅","cobas-8-s":"沢庵宗彭筆、烏丸光広画","cobas-11-s":"江戸時代・17世紀","cobas-12-s":"紙本墨書・墨画","cobas-16-s":"東京国立博物館","cobas-17-h":"

　江戸時代初期の公卿で歌人・能書として知られる烏丸光広【からすまるみつひろ】の描く山水画に、大徳寺第153代の住持沢庵宗彭【たくあんそうほう】が｢太崋萬餘丈、三星遶月處｣の賛と自署を加えたもの。光広とその参禅の師である沢庵との交流を物語るものとして重要である。　　

","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-3156/image/slideshow_s/B-3156_C0032625.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"34055","cobas-22-s":"57907","cobas-31-s":"Calligraphy","cobas-32-s":"Landscape with Inscription","cobas-34-s":"By Takuan Soho (1573-1645), inscription by Karasumaru Mitsuhiro (1579-1638)","cobas-37-s":"Edo period, 17th century","cobas-42-s":"Tokyo National Museum"},{"id":"keioobjecthub-819","common":{"id":"keioobjecthub-819","title":"烏丸光広筆和歌懐紙","titleEn":"Waka Kaishi by Karasumaru Mitsuhiro","titleYomi":"カラスマルミツヒロヒツワカカイシ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/819","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_14857_14857.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_14857_14857.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/819/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"烏丸光広〈からすまるみつひろ・1579-1638〉は江戸時代初期の公卿・歌人。准大臣光宣〈みつのぶ・1549-1611〉の子。叙爵（従五位下に叙せられる）以来、順調に昇進したが、慶長14年〈1609〉、宮廷女房らと集団密通事件を起こし、後陽成天皇〈ごようぜいてんのう・1571-1617〉の勅勘を蒙り配流の身となった。が、徳川家康〈とくがわいえやす・1542-1616〉の仲介により赦され、還任後は正二位・権大納言にまで至った。多才多芸にして和歌や連歌・書画・茶道などを能くし、また一絲文守〈いっしぶんしゅ・1608-46〉に帰依して禅をも修めた。和歌は細川幽斎〈ほそかわゆうさい・1534-1610〉に学び、古今伝授を受けて、家集『黄葉和歌集（こうようわかしゅう）』を残した。また能書家としても知られ、「寛永の三筆」と並び称される。当初は公卿の子弟が学ぶ、伝統的な持明院流の書を学んだが、光悦流・定家流を経て、後年、光広流ともいえる不羈奔放な自流の書風を生み出した。「霞添山色」を歌題とした詩歌会は、光広の生存期間中、文禄５年〈1596〉・元和２年〈1616〉の和歌御会始と、寛永13年〈1636〉の院和歌御会始（歌題は「霞添山気色」と若干異なっている）の３度開催されたことが確認できる。この懐紙は、その書風から察するに、最晩年の寛永13年１月９日、仙洞御所（後水尾院）にて催された院和歌御会始での自詠を、のちに再揮毫したものと思われる。光広はこの年58歳。大胆な書きぶりに、「光広流」ともいうべき独特の書風が顕著に見える。「「霞、山色を添える」ということを詠める和歌／光広／遠近も今朝は霞薄く濃く山のみどりも春の色添ふ」","descriptionEn":"Karasumaru Mitsuhiro (1579-1638) was an Edo-Period aristocrat and noted poet, who was the son of the Minister Equivalent Mitsunobu (1549-1611). Although he advanced smoothly in the official hierarchy, his entanglement in a palace group sex scandal involving several ladies-in-waiting (1609) angered Emperor Goyozei (1571-1617) so much so that he was banished into exile. Later, General Tokugawa Ieyasu (1542-1616) worked to have Mitsuhiro pardoned. After being released from banishment, he reassumed a public office, eventually becoming the Provisional Major Counselor of the Senior Second Rank. Versatile artist and free-spirited character, Mitsuhiro showed skills in waka, renga (linked waka poems), brush-ink calligraphy and painting, as well as the formalized art of the tea ceremony (chanoyu). He practiced Zen under Priest Isshi-Bunshu (1608-1646). Training in waka composition under Hosokawa Yusai (1534-1610), he left a private collection of his works, Koyo Wakashu（lit. Golden Leaf Poems). Hailed as one of the most outstanding calligraphers of the era, Mitsuhiro was often referred to as one of the “Kannei-no-Sampitsu,” or the Three Brushes of the Kannei Era. He was originally trained in the traditional Jimyo-In School calligraphy, as was the custom among aristocrats. But he taught himself the Koetsu style and later the Teika style, finally establishing an unstructured and almost freestyle calligraphy that can aptly be called the Mitsuhiro Style.A poetry party convened under the theme of “mist-covered peaks” was held three times in Mitsuhiro’s lifetime – in 1596, 1616 (New Year’s poetry party) and 1636 (retired emperor’s poetry party). Judging from Mitsuhiro’s writing style, the exhibit was most likely written on January 9, 1936, at a poetry party held at the palace of Emperor GoMizuno-o (1596-1680). Obviously, Mitsuhiro later made a clean copy of the original poem written on that occasion. He was 58 years old by then. The bold, unrestricted style shows what can be called the Mitsuhiro School.","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"819","keioobjecthub-1-s":"烏丸光広筆和歌懐紙","keioobjecthub-2-s":"Waka Kaishi by Karasumaru Mitsuhiro","keioobjecthub-3-s":"カラスマルミツヒロヒツワカカイシ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/819","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_14857_14857.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/819/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-000847-0000","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"},{"id":"cobas-57597","common":{"id":"cobas-57597","title":"東行記","titleEn":"Account of a Visit to the Eastern Provinces","titleYomi":"とうこうき","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-2749","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-2749/image/slideshow_s/B-2749_E0023390.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/B-2749/image/slideshow_s/B-2749_E0023390.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

　烏丸光広は江戸時代初期の公卿。古今伝授を受けるほか、歌人として著名である。彼は朝廷と江戸幕府の斡旋役として度々江戸に下向したが、この1巻はその折の紀行文をもとに、和歌やスケッチを加えた旅日記である。光広独自の書風を確立した晩年の筆跡。（こきんでんじゅ）　
(2004/11/23_h082)

","contributor":["烏丸光広筆","By Karasumaru Mitsuhiro (1579–1638)","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・17世紀","Edo period, 17th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["書跡"],"temporal":["江戸時代"]},"cobas-0-s":"57597","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-2749","cobas-2-s":"B-2749","cobas-4-s":"書跡","cobas-5-s":"東行記","cobas-6-s":"とうこうき","cobas-7-s":"1巻","cobas-8-s":"烏丸光広筆","cobas-11-s":"江戸時代・17世紀","cobas-12-s":"彩箋墨書","cobas-16-s":"東京国立博物館","cobas-17-h":"

　烏丸光広は江戸時代初期の公卿。古今伝授を受けるほか、歌人として著名である。彼は朝廷と江戸幕府の斡旋役として度々江戸に下向したが、この1巻はその折の紀行文をもとに、和歌やスケッチを加えた旅日記である。光広独自の書風を確立した晩年の筆跡。（こきんでんじゅ）　
(2004/11/23_h082)

","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-2749/image/slideshow_s/B-2749_E0023390.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"33412","cobas-22-s":"57597","cobas-31-s":"Calligraphy","cobas-32-s":"Account of a Visit to the Eastern Provinces","cobas-34-s":"By Karasumaru Mitsuhiro (1579–1638)","cobas-37-s":"Edo period, 17th century","cobas-38-s":"Ink on decorated paper","cobas-42-s":"Tokyo National Museum"},{"id":"keioobjecthub-873","common":{"id":"keioobjecthub-873","title":"烏丸光広筆和歌懐紙","titleEn":"Waka Kaishi by Karasumaru Mitsuhiro","titleYomi":"カラスマルミツヒロヒツワカカイシ","lastUpdatedDate":1662908400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/873","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15738_15738.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15738_15738.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/873/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"烏丸光広〈からすまるみつひろ・1579-1638〉は江戸時代初期の公卿・歌人。准大臣光宣〈みつのぶ・1549-1611〉の子。叙爵（従五位下に叙せられる）以来、順調に昇進したが、慶長14年〈1609〉、宮廷女房らと集団密通事件を起こし、後陽成天皇〈ごようぜいてんのう・1571-1617〉の勅勘を蒙り配流の身となった。が、徳川家康〈とくがわいえやす・1542-1616〉の仲介により赦され、還任後は正二位・権大納言にまで至った。多才多芸にして和歌や連歌・書画・茶道などを能くし、また一絲文守〈いっしぶんしゅ・1608-46〉に帰依して禅をも修めた。和歌は細川幽斎〈ほそかわゆうさい・1534-1610〉に学び、古今伝授を受けて、家集『黄葉和歌集（こうようわかしゅう）』を残した。また能書家としても知られ、「寛永の三筆」と並び称される。当初は公卿の子弟が学ぶ、伝統的な持明院流の書を学んだが、光悦流・定家流を経て、後年、光広流ともいえる不羈奔放な自流の書風を生み出した。この懐紙は、光広が50歳代に入ってからの執筆と考えられ、かれの面目を躍如とする見事な書である。この詠歌は、木下長嘯子〈きのしたちょうしょうし・1569-1649〉の家集『挙白集』に入集する一首。が、この筆跡はまさしく光広の自筆疑いなきものである。とすれば、これは光広の詠歌と考えるのがふつう。では、なにゆえに長嘯子の家集に入集するのか、不思議な現象。あるいは一気呵成の筆致から、酔いにまかせて、交友の長嘯子の詠歌が脳裏に浮かんだのであろうか。「閑中春雨／光広／春雨はふるともみえず軒端よりなみだしたゝる音計して」\n","descriptionEn":"Karasumaru Mitsuhiro (1579-1638) was an Edo-Period aristocrat and noted poet, who was the son of the Minister Equivalent Mitsunobu (1549-1611). Although he advanced smoothly in the official hierarchy, his entanglement in a palace group sex scandal involving several ladies-in-waiting (1609) angered Emperor Goyozei (1571-1617) so much so that he was banished into exile. Later, General Tokugawa Ieyasu (1542-1616) worked to have Mitsuhiro pardoned. After being released from banishment, he reassumed a public office, eventually becoming the Provisional Major Counselor of the Senior Second Rank. Versatile artist and free-spirited character, Mitsuhiro showed skills in waka, renga (linked waka poems), brush-ink calligraphy and painting, as well as the formalized art of the tea ceremony (chanoyu). He practiced Zen under Priest Isshi-Bunshu (1608-1646). Training in waka composition under Hosokawa Yusai (1534-1610), he left a private collection of his works, Koyo Wakashu（lit. Golden Leaf Poems). Hailed as one of the most outstanding calligraphers of the era, Mitsuhiro was often referred to as one of the “Kannei-no-Sampitsu,” or the Three Brushes of the Kannei Era. He was originally trained in the traditional Jimyo-In School calligraphy, as was the custom among aristocrats. But he taught himself the Koetsu style and later the Teika style, finally establishing an unstructured and almost freestyle calligraphy that can aptly be called the Mitsuhiro Style.From the bold, unique and unrestricted manner in which the brush flows, this kaishi was likely written by Mitsuhiro in his 50s. The poem is cited from the private collection Kyohaku-Shu, an anthology of Kinoshita Choshoshi (1569-1649). The origin of the poem presents an unanswered question: The brush is the authentic writing of Mitsuhiro, which suggests that he also composed this poem. So why is this poem included in Choshoshi’s private collection? Could it be, perhaps, that he was very drunk when writing this poem and just jotted down a poem ringing in his head, which happened to be written by his friend?\n","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"873","keioobjecthub-1-s":"烏丸光広筆和歌懐紙","keioobjecthub-2-s":"Waka Kaishi by Karasumaru Mitsuhiro","keioobjecthub-3-s":"カラスマルミツヒロヒツワカカイシ","keioobjecthub-4-d":"2022/09/12","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/873","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15738_15738.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/873/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-002476-0000","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）\n","keioobjecthub-32-s":"斯道文庫"},{"id":"cobas-144354","common":{"id":"cobas-144354","title":"如来像頭部","titleEn":"Head of a Buddha","titleYomi":"にょらいぞうとうぶ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/TC-456","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/TC-456/image/slideshow_s/TC-456_C0043075.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/TC-456/image/slideshow_s/TC-456_C0043075.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

現在の中国の西北部、シルクロードの西域南道を代表するオアシス都市国家であったホータンから出土した、如来像の頭部です。大きく見開いた目や口ひげを蓄えた如来の顔は、インド西北部のガンダーラ地方やスワート地方の仏像の影響を強く受けているといわれています。
型をつくって溶けた青銅を流し込み、金メッキを施した金銅仏で、西域における最古の作例とされるたいへん貴重な作品です。頭のこわれた部分をのぞいてみると、その中も詰まっていることが特徴的です。また、首の底面も塞（ふさ）がっているため頭と胴体が、それぞれ別に鋳造されたと考えられています。さらに、顔の表面には金メッキが部分的に厚く残っていることなど、古い時代の技法を知る貴重な手がかりとなっています。

","descriptionEn":"

This work is very valuable as the oldest gilt bronze statue of Buddha in the western region of China.


The ancient city state of Khotan was built on an oasis in what is now north-western China, and it was one of the greatest cities on the southern route of the part of the Silk Road that passed through the area known as the “Western Regions”. This sculpted head of a buddha was excavated from the ground where Khotan once stood. The buddha’s eyes are open wide and the face was given a moustache, both of which suggest that the sculpture was powerfully influenced by the Buddhist statuary of the Gandhara and Swat regions of the northwestern Indian subcontinent.
The head was made of gilt-bronze, which is produced by pouring molten bronze into a mould and then applying gold plating to the casted bronze. It is a truly valuable work as it is thought to be the oldest example of such a work produced in the Western Regions. We can see from the broken part of the head that it is solid, which makes it all the more special. In addition, the bottom surface of the neck is also solid, so it is thought that the head and body of the original sculpture would have been cast separately. Finally, parts of the face are still covered in thick gold plating, which provides us with valuable clues into ancient metal plating techniques.

","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["3～4世紀","3rd–4th century"],"location":["中国・ホータン","Hotan, China"],"coordinates":{"lat":38.89458084106445,"lon":141.65843200683594},"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"718"},"rdfindex":{"type":["彫刻"],"temporal":["3～4世紀"],"spatial":["海外 > アジア > 中国"]},"cobas-0-s":"144354","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/TC-456","cobas-2-s":"TC-456","cobas-4-s":"東洋彫刻","cobas-5-s":"如来像頭部","cobas-6-s":"にょらいぞうとうぶ","cobas-7-s":"1個","cobas-10-s":"中国・ホータン","cobas-11-s":"3～4世紀","cobas-12-s":"銅造鍍金","cobas-16-s":"東京国立博物館","cobas-17-h":"

現在の中国の西北部、シルクロードの西域南道を代表するオアシス都市国家であったホータンから出土した、如来像の頭部です。大きく見開いた目や口ひげを蓄えた如来の顔は、インド西北部のガンダーラ地方やスワート地方の仏像の影響を強く受けているといわれています。
型をつくって溶けた青銅を流し込み、金メッキを施した金銅仏で、西域における最古の作例とされるたいへん貴重な作品です。頭のこわれた部分をのぞいてみると、その中も詰まっていることが特徴的です。また、首の底面も塞（ふさ）がっているため頭と胴体が、それぞれ別に鋳造されたと考えられています。さらに、顔の表面には金メッキが部分的に厚く残っていることなど、古い時代の技法を知る貴重な手がかりとなっています。

","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/TC-456/image/slideshow_s/TC-456_C0043075.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"142825","cobas-22-s":"144354","cobas-31-s":"Asian Sculpture","cobas-32-s":"Head of a Buddha","cobas-36-s":"Hotan, China","cobas-37-s":"3rd–4th century","cobas-38-s":"Gilt bronze","cobas-42-s":"Tokyo National Museum","cobas-43-h":"

This work is very valuable as the oldest gilt bronze statue of Buddha in the western region of China.


The ancient city state of Khotan was built on an oasis in what is now north-western China, and it was one of the greatest cities on the southern route of the part of the Silk Road that passed through the area known as the “Western Regions”. This sculpted head of a buddha was excavated from the ground where Khotan once stood. The buddha’s eyes are open wide and the face was given a moustache, both of which suggest that the sculpture was powerfully influenced by the Buddhist statuary of the Gandhara and Swat regions of the northwestern Indian subcontinent.
The head was made of gilt-bronze, which is produced by pouring molten bronze into a mould and then applying gold plating to the casted bronze. It is a truly valuable work as it is thought to be the oldest example of such a work produced in the Western Regions. We can see from the broken part of the head that it is solid, which makes it all the more special. In addition, the bottom surface of the neck is also solid, so it is thought that the head and body of the original sculpture would have been cast separately. Finally, parts of the face are still covered in thick gold plating, which provides us with valuable clues into ancient metal plating techniques.

"},{"id":"keioobjecthub-723","common":{"id":"keioobjecthub-723","title":"烏丸光広筆和歌懐紙","titleEn":"Waka Kaishi by Karasumaru Mitushiro","titleYomi":"カラスマルミツヒロヒツワカカイシ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/723","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12856_12856.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12856_12856.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/723/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"烏丸光広〈からすまるみつひろ・1579-1638〉は江戸時代初期の公卿・歌人。准大臣光宣〈みつのぶ・1549-1611〉の子。叙爵（従五位下に叙せられる）以来、順調に昇進したが、慶長14年〈1609〉、宮廷女房らと集団密通事件を起こし、後陽成天皇〈ごようぜいてんのう・1571-1617〉の勅勘を蒙り配流の身となった。が、徳川家康〈とくがわいえやす・1542-1616〉の仲介により赦され、還任後は正二位・権大納言にまで至った。多才多芸にして和歌や連歌・書画・茶道などを能くし、また一絲文守〈いっしぶんしゅ・1608-46〉に帰依して禅をも修めた。和歌は細川幽斎〈ほそかわゆうさい・1534-1610〉に学び、古今伝授を受けて、家集『黄葉和歌集（こうようわかしゅう）』を残した。また能書家としても知られ、「寛永の三筆」と並び称される。当初は公卿の子弟が学ぶ、伝統的な持明院流の書を学んだが、光悦流・定家流を経て、後年、光広流ともいえる不羈奔放な自流の書風を生み出した。これは、元和元年〈1615〉９月９日の重陽の節会に、「菊花久芳」の歌題を冠して詠まれた和歌懐紙である。光広の書風は、持明院流、光悦流、定家流を経て、独自の光広流へと変遷するが、これはまさしく定家流で書かれる。かれが上代様を好み、ことに歌道において、定家の筆跡に追慕の情を示した様子がうかがわれる遺墨である。このとき、光広は41歳。同年に権大納言・従二位に昇った。「重陽、同じく「菊花、久しく芳る」ということを詠める和歌／権大納言藤原光広／思ふより今日待ち出でし匂ひ哉まして千年の秋の白菊」","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"723","keioobjecthub-1-s":"烏丸光広筆和歌懐紙","keioobjecthub-2-s":"Waka Kaishi by Karasumaru Mitushiro","keioobjecthub-3-s":"カラスマルミツヒロヒツワカカイシ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/723","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12856_12856.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/723/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-002171-0000","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"},{"id":"keioobjecthub-605","common":{"id":"keioobjecthub-605","title":"烏丸光広筆書状","titleEn":"Letter by Karasumaru Mitsuhiro","titleYomi":"カラスマルミツヒロヒツショジョウ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/605","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_15623_15623.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_15623_15623.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/605/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"烏丸光広〈からすまるみつひろ・1579-1638〉は公卿・歌人。少年時代より能書の聞こえが高く、11歳で早くも右少弁に任ぜられた。正二位・権大納言。書は持明院流（じみょういんりゅう）に入門したが、のち光悦流の影響を受け、同時に上代様（じょうだいよう）も好んだ。「寛永の三筆」と併称される能書である。日付の「壬（閏）二月十五日」により、この手紙の書写年代は、慶長15年〈1610・光広32歳〉か寛永６年〈1629・同51歳〉のいずれかに限定される。宛名の「村上周防守」は、『寛政重修諸家譜』の索引に見えない。が、文中に登場する「堀久太郎」を探ると、堀秀政〈ほりひでまさ・1553-90〉・秀治〈ひではる・1576-1606〉父子が久太郎を名乗っている。２人ともに慶長15年以前に他界しているの該当しない。しかしながら、前掲『寛政重修諸家譜』の両者記述の中に、村上周防守義明の名が記されているではないか。ともに豊臣秀吉の小田原の役に参戦、功を収め越後国に領地が安堵されている。また、秀治の弟が村上周防守義明の養子にもなっており、堀家と村上家がきわめて親密な関係にあることを知る。とすると、文中「堀久太郎」は、久太郎を名乗ったという記載はないものの、秀治の嫡男忠俊〈ただとし・1596-1637〉が有力となる。たまたま、慶長15年閏２月２日、忠俊の家臣堀監物直次と丹後守直寄の兄弟に論争が勃発、駿府に訴えるまでに発展、ついに徳川家康が断を下し、直次が敗訴、罪に服したという。この事件が端緒で忠俊は所領を没収される。文中「久太郎殿……笑止之儀」とは、この一件を指すのではないか。村上周防守の身には類が及ばなかったことに、光広が安堵の旨を申し送ったものであろう。光広32歳の筆である。「便宜ながら一書啓せしめ候。堀久太郎殿申し下し御座候はば、笑止の儀に候。貴殿御無事の由、珍重に存じ候。如何様後便を期し申し入るべく候。恐々謹言。以上。壬（閏）二月十五日烏丸宰相光広村上周防守殿」","descriptionEn":"Karasumaru Mitsuhiro (1579-1638) was a court noble and a poet, who, from boyhood, was hailed as a talented calligrapher. Not only that, but at the young age of 11, he was appointed Junior Officer of the Right and later climbed to the post of Major Counselor. At first, he was trained in the Jimyo-In School of calligraphy, but was later influenced by the Koetsu Style, while also being attracted to Jodai-yo (the classical style). As an achieved calligrapher, he was likened to the renowned ‘Three Brushes of the Kanei Era’.The date of this letter is the 25th of an unknown month of a year indicated by the Chinese zodiac. Two years could correspond to the zodiac sign shown: 1610, when Mitsuhiro was 32, and 1629, when he was 51. The identity of the addressee, Lord Murakami of Suo, is equally ambiguous. In the letter, the lord, referred to by the name Hori Kyutaro, may be Hori Hidemasa (1553-90) or his son Hideharu (1576-1606), as both men were called Kyutaro at some time. However, they both died before 1610 and are not likely to be the addressee. Since Hidemasa’s younger brother had been adopted by Lord Murakami Yoshiaki of Suo, it’s likely that this general is the addressee. In any case, the letter suggests that the Hori and Murakami families were closely related. Hideharu’s heir, Tadatoshi (1596-1637), was also a likely addressee, although there are no historical records that he went by the name Kyutaro. By coincidence, the correspondence concerns a bitter dispute that erupted between Hori Naotsugu and his brother Naoyori, both of whom were retainers of Hori Tadatoshi (1596-1637), Hideharu’s son. Shogun Tokugawa Ieyasu handed down the final judgment in which Naotsugu was found guilty and punished accordingly. Because of this dispute, Tadatoshi’s estate was confiscated. Mitsuhiro writes that he is relieved to know that the event did not adversely affect the recipient, Lord Murakami.Considering the event occurred in 1610, one can conclude that this letter was written in that very year, when Mitsuhiro was 32 years old.","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"605","keioobjecthub-1-s":"烏丸光広筆書状","keioobjecthub-2-s":"Letter by Karasumaru Mitsuhiro","keioobjecthub-3-s":"カラスマルミツヒロヒツショジョウ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/605","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_15623_15623.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/605/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-002269-0014","keioobjecthub-28-s":"センチュリー赤尾コレクション","keioobjecthub-30-s":"慶應義塾（センチュリー赤尾コレクション）","keioobjecthub-32-s":"斯道文庫"},{"id":"cobas-88029","common":{"id":"cobas-88029","title":"肩衣 黒麻地波兎牡丹唐草州浜笹模様","titleEn":"Kyōgen Costume (Kataginu) with a Rabbit, Waves, Peony Vines, Sandbanks, and Broadleaf Bamboo","titleYomi":"かたぎぬ くろあさじなみうさぎぼたんからくさすはまささもよう","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/I-4106","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/I-4106/image/slideshow_s/I-4106_C0058481.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/I-4106/image/slideshow_s/I-4106_C0058481.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

狂言肩衣は大胆な染め模様。名物裂（めいぶつぎれ）でおなじみの造土文を波で象(かたど）りその中に兎文を配する。波のはねる様子を白兎に喩えたいわゆる「波に兎」文であるが、江戸時代の諸工芸に特徴的なずんぐり型の兎が滑稽である。牡丹唐草の造土文と笹文が吉祥性を添える。


これは、狂言で主人に仕える召使・太郎冠者（たろうかじゃ）や次郎冠者（じろうかじゃ）が着用する装束です。肩衣（かたぎぬ）は、袖がなく麻製の室町時代の武士の略装で、もともとは袖の長い上衣である直垂（ひたたれ）が簡略化したものです。
背中に、兎と牡丹の花が描かれた窓のような形がふたつ、配置されています。その下には入り組んだ浜辺の曲線のような州浜（すはま）形で区切られた、鮮やかな青。そして赤と緑、反対色が組み合わされた笹の葉模様がアクセントになっています。かまぼこのような窓形の中に、兎と花を描いた「花兎」という模様は、もともと茶人が好んだ中国伝来の織物、名物裂（めいぶつぎれ）に多くみられるものでした。ここでは花が波にかわり、日本風にアレンジされているようです。
絹を素材にした能装束に対して、狂言装束は麻でできています。また、模様を織り出す重厚な能装束に対し、大胆なモチーフを染め出した狂言装束は、軽快なデザインが多いのが特徴です。幽玄味にあふれ静やかな歌舞劇である能の合間に演じられた喜劇・狂言ならではの軽やかさと楽しさがよくあらわれています。

","descriptionEn":"

This jacket-like garment, dyed with bold and stylish patterns, would have been worn by a Kyogen actor playing the role of a lord's servant.


This is a costume used during kyogen, a traditional Japanese performing art. Kyogen is a comical interlude performed between acts in a Noh drama to make the audience feel relaxed.
Kataginu garments are worn in kyogen by feudal retainers such as Taro Kaja or Jiro Kaja. They are modelled on the informal sleeveless, hemp garments worn by warriors during the Muromachi period, which lasted from around 1392 to 1573.
The back of this garment features two window-shaped emblems housing a rabbit and a peony. The vivid blue lower section is demarcated by a line resembling the shore of a sandy beach. This is accentuated by bamboo leaves depicted in contrasting reds and greens.
In contrast to the silk garments of Noh, kyogen costumes are made of hemp. Furthermore, though Noh costumes feature stately, woven designs, kyogen costumes are often characterized by bold, dyed motifs that are meant to stand out on stage. Kyogen costumes express a sense of light-hearted fun that befits a comedic interlude performed during the profound solemnity of a Noh play.

","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":"914"},"rdfindex":{"type":["染織"],"temporal":["江戸時代"]},"cobas-0-s":"88029","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/I-4106","cobas-2-s":"I-4106","cobas-4-s":"染織","cobas-5-s":"肩衣 黒麻地波兎牡丹唐草州浜笹模様","cobas-6-s":"かたぎぬ くろあさじなみうさぎぼたんからくさすはまささもよう","cobas-7-s":"1領","cobas-11-s":"江戸時代・19世紀","cobas-12-s":"麻、描絵、友禅染","cobas-13-s":"丈75.2 裄35.2","cobas-16-s":"東京国立博物館","cobas-17-h":"

狂言肩衣は大胆な染め模様。名物裂（めいぶつぎれ）でおなじみの造土文を波で象(かたど）りその中に兎文を配する。波のはねる様子を白兎に喩えたいわゆる「波に兎」文であるが、江戸時代の諸工芸に特徴的なずんぐり型の兎が滑稽である。牡丹唐草の造土文と笹文が吉祥性を添える。


これは、狂言で主人に仕える召使・太郎冠者（たろうかじゃ）や次郎冠者（じろうかじゃ）が着用する装束です。肩衣（かたぎぬ）は、袖がなく麻製の室町時代の武士の略装で、もともとは袖の長い上衣である直垂（ひたたれ）が簡略化したものです。
背中に、兎と牡丹の花が描かれた窓のような形がふたつ、配置されています。その下には入り組んだ浜辺の曲線のような州浜（すはま）形で区切られた、鮮やかな青。そして赤と緑、反対色が組み合わされた笹の葉模様がアクセントになっています。かまぼこのような窓形の中に、兎と花を描いた「花兎」という模様は、もともと茶人が好んだ中国伝来の織物、名物裂（めいぶつぎれ）に多くみられるものでした。ここでは花が波にかわり、日本風にアレンジされているようです。
絹を素材にした能装束に対して、狂言装束は麻でできています。また、模様を織り出す重厚な能装束に対し、大胆なモチーフを染め出した狂言装束は、軽快なデザインが多いのが特徴です。幽玄味にあふれ静やかな歌舞劇である能の合間に演じられた喜劇・狂言ならではの軽やかさと楽しさがよくあらわれています。

","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/I-4106/image/slideshow_s/I-4106_C0058481.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"72896","cobas-22-s":"88029","cobas-31-s":"Textiles","cobas-32-s":"Kyōgen Costume (Kataginu) with a Rabbit, Waves, Peony Vines, Sandbanks, and Broadleaf Bamboo","cobas-37-s":"Edo period, 19th century","cobas-38-s":"Ramie with freehand decoration and paste-resist dyeing ([yūzen])","cobas-42-s":"Tokyo National Museum","cobas-43-h":"

This jacket-like garment, dyed with bold and stylish patterns, would have been worn by a Kyogen actor playing the role of a lord's servant.


This is a costume used during kyogen, a traditional Japanese performing art. Kyogen is a comical interlude performed between acts in a Noh drama to make the audience feel relaxed.
Kataginu garments are worn in kyogen by feudal retainers such as Taro Kaja or Jiro Kaja. They are modelled on the informal sleeveless, hemp garments worn by warriors during the Muromachi period, which lasted from around 1392 to 1573.
The back of this garment features two window-shaped emblems housing a rabbit and a peony. The vivid blue lower section is demarcated by a line resembling the shore of a sandy beach. This is accentuated by bamboo leaves depicted in contrasting reds and greens.
In contrast to the silk garments of Noh, kyogen costumes are made of hemp. Furthermore, though Noh costumes feature stately, woven designs, kyogen costumes are often characterized by bold, dyed motifs that are meant to stand out on stage. Kyogen costumes express a sense of light-hearted fun that befits a comedic interlude performed during the profound solemnity of a Noh play.

"},{"id":"keioobjecthub-667","common":{"id":"keioobjecthub-667","title":"烏丸光広筆和歌懐紙","titleEn":"Waka Kaishi by Karasumaru Mitsuhiro","titleYomi":"カラスマルミツヒロヒツワカカイシ","lastUpdatedDate":1656860400000,"linkUrl":"https://objecthub.keio.ac.jp/ja/object/667","thumbnailUrl":["https://file.objecthub.keio.ac.jp/image/thum_m_12800_12800.jpg"],"contentsUrl":["https://file.objecthub.keio.ac.jp/image/thum_l_12800_12800.jpg"],"iiifUrl":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/667/2.1/manifest.json","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","book","humanities"],"description":"烏丸光広〈からすまるみつひろ・1579-1638〉は江戸時代初期の公卿・歌人。准大臣光宣〈みつのぶ・1549-1611〉の子。叙爵（従五位下に叙せられる）以来、順調に昇進したが、慶長14年〈1609〉、宮廷女房らと集団密通事件を起こし、後陽成天皇〈ごようぜいてんのう・1571-1617〉の勅勘を蒙り配流の身となった。が、徳川家康〈とくがわいえやす・1542-1616〉の仲介により赦され、還任後は正二位・権大納言にまで至った。多才多芸にして和歌や連歌・書画・茶道などを能くし、また一絲文守〈いっしぶんしゅ・1608-46〉に帰依して禅をも修めた。和歌は細川幽斎〈ほそかわゆうさい・1534-1610〉に学び、古今伝授を受けて、家集『黄葉和歌集（こうようわかしゅう）』を残した。また能書家としても知られ、「寛永の三筆」と並び称される。当初は公卿の子弟が学ぶ、伝統的な持明院流の書を学んだが、光悦流・定家流を経て、後年、光広流ともいえる不羈奔放な自流の書風を生み出した。この懐紙は、「梅花久芳」の歌題により、寛永14年〈1637〉１月17日の禁中における新年御会の時のものとわかる。書きぶりから推して、これはその手控えの草稿本と思われる。光広はこの年59歳であった。最晩年の枯れた筆致である。「「梅の花、久しく芳（かお）る」ということを詠める和歌／藤光広／代々込めて咲ける若木の梅が香を四方に知らする春の初風」","contributor":["烏丸光広"],"temporal":["AD17"],"provider":"斯道文庫","ownerOrg":"keio_university","database":"keioobjecthub","apiType":"restricted","access":"PUBLIC","dclass":"911"},"rdfindex":{"type":["芸術・美術"],"temporal":["1601～1700年"]},"keioobjecthub-0-s":"667","keioobjecthub-1-s":"烏丸光広筆和歌懐紙","keioobjecthub-2-s":"Waka Kaishi by Karasumaru Mitsuhiro","keioobjecthub-3-s":"カラスマルミツヒロヒツワカカイシ","keioobjecthub-4-d":"2022/07/04","keioobjecthub-5-u":"https://objecthub.keio.ac.jp/ja/object/667","keioobjecthub-6-u":"https://file.objecthub.keio.ac.jp/image/thum_m_12800_12800.jpg","keioobjecthub-9-u":"https://api-iiif.db.kemco.keio.ac.jp/iiif/object/667/2.1/manifest.json","keioobjecthub-12-s":"烏丸光広","keioobjecthub-13-s":"AD17","keioobjecthub-17-s":"斯道文庫","keioobjecthub-19-s":"制作年:AD17","keioobjecthub-20-s":"作者:烏丸光広","keioobjecthub-24-s":"AW-CEN-001362-0000","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"},{"id":"cobas-164397","common":{"id":"cobas-164397","title":"百人一首帖","titleEn":"Album of One Hundred Poems by One Hundred Poets","titleYomi":"ひゃくにんいっしゅじょう","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-3494","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-3494/image/slideshow_s/B-3494_E0090056.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/B-3494/image/slideshow_s/B-3494_E0090056.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

烏丸光広は、近世初期の歌人で公卿。古い時代の筆跡鑑定に長じ、実技面では12世紀の藤原定家や同時代の本阿弥光悦の書法などを新鮮な感性で取り込み、独自の書風を確立しました。これは『小倉百人一首』を定家の書法を踏まえて揮毫した40代の作品です。

","descriptionEn":"

Mitsuhiro's rendering of this exemplary 12th-century poem collection reveals his knowledge and mastery of the ancient arts of the imperial court. He inscribed it when he was in his 40s.

","contributor":["烏丸光広筆","By Karasumaru Mitsuhiro (1579–1638)","百瀬治氏・百瀬富美子氏寄贈","Gift of Mr. Momose Osamu and Mrs. Momose Fumiko","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・17世紀","Edo period, 17th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"728"},"rdfindex":{"type":["書跡"],"temporal":["江戸時代"]},"cobas-0-s":"164397","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-3494","cobas-2-s":"B-3494","cobas-4-s":"書跡","cobas-5-s":"百人一首帖","cobas-6-s":"ひゃくにんいっしゅじょう","cobas-7-s":"1帖","cobas-8-s":"烏丸光広筆","cobas-11-s":"江戸時代・17世紀","cobas-12-s":"彩箋墨書","cobas-13-s":"縦25.1 横18.9","cobas-15-s":"百瀬治氏・百瀬富美子氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"

烏丸光広は、近世初期の歌人で公卿。古い時代の筆跡鑑定に長じ、実技面では12世紀の藤原定家や同時代の本阿弥光悦の書法などを新鮮な感性で取り込み、独自の書風を確立しました。これは『小倉百人一首』を定家の書法を踏まえて揮毫した40代の作品です。

","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-3494/image/slideshow_s/B-3494_E0090056.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"225134","cobas-22-s":"164397","cobas-31-s":"Calligraphy","cobas-32-s":"Album of One Hundred Poems by One Hundred Poets","cobas-34-s":"By Karasumaru Mitsuhiro (1579–1638)","cobas-37-s":"Edo period, 17th century","cobas-38-s":"Ink on decorated paper","cobas-41-s":"Gift of Mr. Momose Osamu and Mrs. Momose Fumiko","cobas-42-s":"Tokyo National Museum","cobas-43-h":"

Mitsuhiro's rendering of this exemplary 12th-century poem collection reveals his knowledge and mastery of the ancient arts of the imperial court. He inscribed it when he was in his 40s.

"},{"id":"cobas-48467","common":{"id":"cobas-48467","title":"関屋図屏風","titleEn":"Scene from ‟The Gatehouse” Chapter of The Tale of Genji","titleYomi":"せきやずびょうぶ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12190","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12190/image/slideshow_s/A-12190_089-12190.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12190/image/slideshow_s/A-12190_089-12190.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

　江戸初期の代表的歌人で、朝廷に仕えた烏丸光広が書した和歌から、『源氏物語』のうち、光源氏が石山寺へ参詣する折、逢坂の関でかつての愛人空蝉の一行と出会い、往時をしのぶ「関屋」帖の一場面とわかる。仕丁の装束の白が光り、波状の動きを生んでいる。

","contributor":["俵屋宗達筆、烏丸光広賛","By Tawaraya Sōtatsu (dates unknown); inscription by Karasumaru Mitsuhiro (1579–1638)","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・17世紀","Edo period, 17th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"cobas-0-s":"48467","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-12190","cobas-2-s":"A-12190","cobas-3-s":"重要文化財","cobas-4-s":"絵画","cobas-5-s":"関屋図屏風","cobas-6-s":"せきやずびょうぶ","cobas-7-s":"6曲1隻","cobas-8-s":"俵屋宗達筆、烏丸光広賛","cobas-11-s":"江戸時代・17世紀","cobas-12-s":"紙本金地着色","cobas-13-s":"95.5×273.0","cobas-16-s":"東京国立博物館","cobas-17-h":"

　江戸初期の代表的歌人で、朝廷に仕えた烏丸光広が書した和歌から、『源氏物語』のうち、光源氏が石山寺へ参詣する折、逢坂の関でかつての愛人空蝉の一行と出会い、往時をしのぶ「関屋」帖の一場面とわかる。仕丁の装束の白が光り、波状の動きを生んでいる。

","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-12190/image/slideshow_s/A-12190_089-12190.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"20886","cobas-22-s":"48467","cobas-29-s":"絵画:日本:近世絵画","cobas-30-s":"Important Cultural Property","cobas-31-s":"Painting","cobas-32-s":"Scene from ‟The Gatehouse” Chapter of The Tale of Genji","cobas-34-s":"By Tawaraya Sōtatsu (dates unknown); inscription by Karasumaru Mitsuhiro (1579–1638)","cobas-37-s":"Edo period, 17th century","cobas-38-s":"Color and gold leaf on paper","cobas-42-s":"Tokyo National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-142031","common":{"id":"cobas-142031","title":"花卉雑画図巻","titleEn":"Miscellaneous Flowers and Plants","titleYomi":"かきざつがずかん","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/TA-304","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/TA-304/image/slideshow_s/TA-304_E0197553.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/TA-304/image/slideshow_s/TA-304_E0197553.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

徐渭【じょい】（字文長、号天池、青藤）は山陰【さんいん】(浙江省)の人です。妻を殺害して一時投獄されるなど、波乱に満ちた生涯をおくった文人書画家です。水気のある墨を自由自在に用いた画法には、李著や張路、蒋嵩との親近性が指摘できます。


　徐渭（じょい）は、明時代の後期、16世紀に活躍した文人です。学者・戯曲作家として活躍するかたわら、書家・画家としても優れた作品を残しました。家庭的にはあまり恵まれず、政治の世界においても不遇でした。高級官僚試験である科挙（かきょ）に何度も挑戦するも合格できません。そんな中、彼の才能を評価し後ろ盾となってくれる有力者が現れますが、その人物もやがて失脚してしまいます。徐渭は次第に追い詰められていく中で、精神を病み、とうとう妻を殺害、その罪で投獄されてしまいます。ただ、そんな波乱にみちた生涯を送る中でも、創作意欲が衰えることはありませんでした。
　徐渭は、水墨で草花や野菜、魚や蟹（かに）を描いた作品を得意としました。この画巻もそのひとつで、6年に及ぶ獄中生活を終えた55歳の時に制作されました。酒と蟹をたずさえた友人の訪問を受け、求めに応じてほろ酔い気分で描き贈ったものといいます。蓮や梅、牡丹、葡萄などの草花、そして、豆や青菜などの野菜と魚、蟹が並んでいます。紙の上で、濃淡のグラデーションを作りながら、自在ににじみ、広がっていく墨の美しさが印象的です。絵画表現と呼応して踊るように記される書も見どころです。現実世界ではなかなか心の安寧を得ることができなかった徐渭が、せめて書画の中では自由に遊びたいと願う気持ちが伝わってくるような作品です。

","descriptionEn":"

Xu Wei was a scholar, calligrapher and painter from Shanyin (now Zhejiang Province). His wet calligraphy style is especially graceful in this album of flowers and plants.


Xu Wei was a literati artist active during the late Ming dynasty, in the 16th century. In addition to his work as a scholar and playwright, he also left us with many excellent works of calligraphy and paintings. He was unfortunate in his private life and career. He took China’s higher civil service examinations many times, but never passed. As this went on, there would be patrons who appeared and recognized his talent, but they eventually lost their power and left him. The pressure on Xu Wei gradually built up, and it had detrimental effects on his mental health; ultimately, he murdered his own wife, a crime for which he was imprisoned. However, throughout these dramatic turns in his career, his desire to create never seemed to wane.

Xu Wei was especially skilled in ink paintings of flowering plants and vegetables, as well as fish and crabs, as can be seen in this scroll. He painted it when he was 55, after he had completed his six years of imprisonment. It is said that he painted it when he was slightly tipsy, upon the request of a friend who came to his home with alcohol and crabs. The piece features lotuses, plums, peonies, grapes, and other plants, as well as vegetables like beans and greens, and fish and crabs. The beauty of the ink is striking, creating subtle gradation on the paper while freely soaking into it and spreading through the paper. The calligraphy that dances in response to the expressive painting is also wonderful. While Xu Wei could not obtain peace in the real world, it seems like he did manage to convey a spirit of freedom and play in paintings and calligraphy like this work.

","contributor":["徐渭筆","By Xu Wei (1521–1593)","高島菊次郎氏寄贈","Gift of Mr. Takashima Kikujirō","東京国立博物館","Tokyo National Museum"],"temporal":["明時代・万暦3年(1575)","Ming dynasty, 1575"],"location":["中国","China"],"coordinates":{"lat":38.89458084106445,"lon":141.65843200683594},"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["絵画"],"temporal":["中国・明時代"],"spatial":["海外 > アジア > 中国"]},"cobas-0-s":"142031","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/TA-304","cobas-2-s":"TA-304","cobas-4-s":"東洋絵画","cobas-5-s":"花卉雑画図巻","cobas-6-s":"かきざつがずかん","cobas-7-s":"1巻","cobas-8-s":"徐渭筆","cobas-9-s":"中国","cobas-11-s":"明時代・万暦3年(1575)","cobas-12-s":"紙本墨画","cobas-13-s":"28.4×665.1","cobas-14-s":"木犀時雨 ; 天池山人 ; 陳家豆酒名天下朱家之酒亦其亜史甥親携八升来如椽大巻令吾画小白連浮三十杯指尖浩気響如雷驚花　草開愁晩何用三郎羯鼓催羯鼓催筆兎痩蟹螯百隻羊肉一肘陳家之酒更二斗唫伊吾進厥口為濃更作獅子吼 万暦三年菊月望日漱老謔墨 ; 青藤道士 ; 徐渭之印 ; 湘管斎 ; 朗葊秘玩 ; 尊山谷室 ; 林氏朗庵審 定会蔵 ; 燕山 ; 熊光 ; 朗庵寓目 ; 某妻鶴子先生之裔 ; 朗庵蔵宝 ; 葉氏家印 ; 磊斎所蔵","cobas-15-s":"高島菊次郎氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"

徐渭【じょい】（字文長、号天池、青藤）は山陰【さんいん】(浙江省)の人です。妻を殺害して一時投獄されるなど、波乱に満ちた生涯をおくった文人書画家です。水気のある墨を自由自在に用いた画法には、李著や張路、蒋嵩との親近性が指摘できます。


　徐渭（じょい）は、明時代の後期、16世紀に活躍した文人です。学者・戯曲作家として活躍するかたわら、書家・画家としても優れた作品を残しました。家庭的にはあまり恵まれず、政治の世界においても不遇でした。高級官僚試験である科挙（かきょ）に何度も挑戦するも合格できません。そんな中、彼の才能を評価し後ろ盾となってくれる有力者が現れますが、その人物もやがて失脚してしまいます。徐渭は次第に追い詰められていく中で、精神を病み、とうとう妻を殺害、その罪で投獄されてしまいます。ただ、そんな波乱にみちた生涯を送る中でも、創作意欲が衰えることはありませんでした。
　徐渭は、水墨で草花や野菜、魚や蟹（かに）を描いた作品を得意としました。この画巻もそのひとつで、6年に及ぶ獄中生活を終えた55歳の時に制作されました。酒と蟹をたずさえた友人の訪問を受け、求めに応じてほろ酔い気分で描き贈ったものといいます。蓮や梅、牡丹、葡萄などの草花、そして、豆や青菜などの野菜と魚、蟹が並んでいます。紙の上で、濃淡のグラデーションを作りながら、自在ににじみ、広がっていく墨の美しさが印象的です。絵画表現と呼応して踊るように記される書も見どころです。現実世界ではなかなか心の安寧を得ることができなかった徐渭が、せめて書画の中では自由に遊びたいと願う気持ちが伝わってくるような作品です。

","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/TA-304/image/slideshow_s/TA-304_E0197553.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"137568","cobas-22-s":"142031","cobas-31-s":"Asian Painting","cobas-32-s":"Miscellaneous Flowers and Plants","cobas-34-s":"By Xu Wei (1521–1593)","cobas-35-s":"China","cobas-37-s":"Ming dynasty, 1575","cobas-38-s":"Ink on paper","cobas-41-s":"Gift of Mr. Takashima Kikujirō","cobas-42-s":"Tokyo National Museum","cobas-43-h":"

Xu Wei was a scholar, calligrapher and painter from Shanyin (now Zhejiang Province). His wet calligraphy style is especially graceful in this album of flowers and plants.


Xu Wei was a literati artist active during the late Ming dynasty, in the 16th century. In addition to his work as a scholar and playwright, he also left us with many excellent works of calligraphy and paintings. He was unfortunate in his private life and career. He took China’s higher civil service examinations many times, but never passed. As this went on, there would be patrons who appeared and recognized his talent, but they eventually lost their power and left him. The pressure on Xu Wei gradually built up, and it had detrimental effects on his mental health; ultimately, he murdered his own wife, a crime for which he was imprisoned. However, throughout these dramatic turns in his career, his desire to create never seemed to wane.

Xu Wei was especially skilled in ink paintings of flowering plants and vegetables, as well as fish and crabs, as can be seen in this scroll. He painted it when he was 55, after he had completed his six years of imprisonment. It is said that he painted it when he was slightly tipsy, upon the request of a friend who came to his home with alcohol and crabs. The piece features lotuses, plums, peonies, grapes, and other plants, as well as vegetables like beans and greens, and fish and crabs. The beauty of the ink is striking, creating subtle gradation on the paper while freely soaking into it and spreading through the paper. The calligraphy that dances in response to the expressive painting is also wonderful. While Xu Wei could not obtain peace in the real world, it seems like he did manage to convey a spirit of freedom and play in paintings and calligraphy like this work.

"},{"id":"moco_od-2027","common":{"id":"moco_od-2027","title":"青花 鯉文 扁壺　","titleEn":"FLASK","titleYomi":"せいか こいもん へんこ","lastUpdatedDate":1719846000000,"linkUrl":"https://jmapps.ne.jp/mocoor_o/det.html?data_id=2027","thumbnailUrl":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5867.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5869.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5870.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4802.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4800.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4801.jpg"],"contentsUrl":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5867.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5869.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5870.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4802.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4800.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4801.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"日本人が朝鮮青花と出会ったのは、16世紀頃にさかのぼります。本作は、加賀・前田家伝来で、箱書に「高麗物染付　太鼓成得利」とあります。太鼓成得利（徳利）とは、胴の表裏が太鼓のように張っているところから名付けられたものでしょう。日本に古くから伝世する貴重な作例で、両面に見える高雅な雰囲気の鯉文は、宮廷画員が描いたものと思われます。","descriptionEn":"The Japanese first encountered Korean blue-and-white porcelain in around the 16th century. This precious work was preserved through many generations by the Maeda family of Kaga (present-day Ishikawa Prefecture)","contributor":["広州官窯","Gwangju official kiln"],"temporal":["朝鮮時代","16世紀","Joseon dynasty","16th century"],"provider":"moco_toyotoji","ownerOrg":"ZENBI","database":"moco_od","apiType":"ok","subCategory":["陶磁器","東洋","中国陶磁","韓国陶磁","日本陶磁"],"access":"PUBLIC","dclass":"751"},"moco_od-0-s":"2027","moco_od-1-s":"青花 鯉文 扁壺　","moco_od-2-s":["FLASK"," blue-and-white porcelain with carp design"],"moco_od-3-s":"せいか こいもん へんこ","moco_od-4-s":"20240702","moco_od-5-u":"https://jmapps.ne.jp/mocoor_o/det.html?data_id=2027","moco_od-6-u":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5867.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5869.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5870.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4802.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4800.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4801.jpg"],"moco_od-7-u":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5867.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5869.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5870.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4802.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4800.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4801.jpg"],"moco_od-8-c":"ccby","moco_od-9-c":"internet","moco_od-10-c":"image","moco_od-11-s":"日本人が朝鮮青花と出会ったのは、16世紀頃にさかのぼります。本作は、加賀・前田家伝来で、箱書に「高麗物染付　太鼓成得利」とあります。太鼓成得利（徳利）とは、胴の表裏が太鼓のように張っているところから名付けられたものでしょう。日本に古くから伝世する貴重な作例で、両面に見える高雅な雰囲気の鯉文は、宮廷画員が描いたものと思われます。","moco_od-12-s":["The Japanese first encountered Korean blue-and-white porcelain in around the 16th century. This precious work was preserved through many generations by the Maeda family of Kaga (present-day Ishikawa Prefecture)"," accompanying a storage box with an inscription which can be read Goryeo blue-and-white ware"," drum-shaped sake bottle. It was probably named after its flat body resembling a drum. The refined drawings of carps on both sides of the body are thought to have been executed by a court painter."],"moco_od-13-s":"広州官窯","moco_od-14-s":"朝鮮時代","moco_od-15-s":"16世紀","moco_od-17-s":"24.1","moco_od-18-s":"21.5×11.1","moco_od-19-s":"4.9","moco_od-21-s":"大阪市立東洋陶磁美術館(安宅昭弥氏寄贈)　写真：〓（各画像左下の撮影者名を記入のこと）","moco_od-22-u":"https://1drv.ms/u/s!AiGiuwfOF8uugXUBAx2LC3lWwDJ8?e=1crYUA","moco_od-24-s":"Gwangju official kiln","moco_od-25-s":"Joseon dynasty","moco_od-26-s":"16th century","moco_od-28-s":["The Museum of Oriental Ceramics"," Osaka (gift of Mr. ATAKA Teruya)"," photograph by 〓（Please credit the name of the photographer which is indicated at the bottom left of each image）"],"moco_od-29-s":"01383","moco_od-30-s":"2,140"},{"id":"cobas-2010","common":{"id":"cobas-2010","title":"花鳥蒔絵螺鈿聖龕","titleEn":"Portable Christian Altar with Flowers and Birds in Makie and Mother-of-Pearl Inlay","titleYomi":"カチョウマキエラデンセイガン","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/H%E7%94%B2104","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/H%E7%94%B2104/image/slideshow_s/37854_difile3-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/H%E7%94%B2104/image/slideshow_s/37854_difile3-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

金平蒔絵と螺細の併用で椿、鳥、葡萄唐草などを施したこの蒔絵聖龕は、厨子扉を開けると背板の内側に直接油彩画が描かれている。主題は、父なる神、その子イエスと聖霊は一体であるというキリスト教の三位一体の教義で、三人の同一人物が並んで描かれている。近年の研究により十八世紀のメキシコ派の様式に近いことが指摘されている。空の蒔絵聖龕が輸出され、輸入先で図像が描かれたことを思わせる資料である。

","descriptionEn":"

This Christian altar (J., seigan) is decorated with camellias, birds, and grapevine arabesques in makie and mother-of-pearl inlay. Inside the altar, the Holy Trinity (Father, Son, and Holy Ghost) is painted in oil. Recent research suggests that the painting style resembles that of artists in 18th-century Mexico. The blank altar was probably exported and the design completed there.

","contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["桃山時代・16世紀","Momoyama ・16th"],"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"702"},"rdfindex":{"type":["漆工"]},"cobas-0-s":"2010","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/H%E7%94%B2104","cobas-2-s":"H甲104","cobas-4-s":"漆工","cobas-5-s":"花鳥蒔絵螺鈿聖龕","cobas-6-s":"カチョウマキエラデンセイガン","cobas-7-s":"1基","cobas-11-s":"桃山時代・16世紀","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"

金平蒔絵と螺細の併用で椿、鳥、葡萄唐草などを施したこの蒔絵聖龕は、厨子扉を開けると背板の内側に直接油彩画が描かれている。主題は、父なる神、その子イエスと聖霊は一体であるというキリスト教の三位一体の教義で、三人の同一人物が並んで描かれている。近年の研究により十八世紀のメキシコ派の様式に近いことが指摘されている。空の蒔絵聖龕が輸出され、輸入先で図像が描かれたことを思わせる資料である。

","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/H%E7%94%B2104/image/slideshow_s/37854_difile3-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"17041","cobas-22-s":"2010","cobas-29-s":"工芸","cobas-31-s":"Lacquerware","cobas-32-s":"Portable Christian Altar with Flowers and Birds in Makie and Mother-of-Pearl Inlay","cobas-37-s":"Momoyama ・16th","cobas-42-s":"Kyoto National Museum","cobas-43-h":"

This Christian altar (J., seigan) is decorated with camellias, birds, and grapevine arabesques in makie and mother-of-pearl inlay. Inside the altar, the Holy Trinity (Father, Son, and Holy Ghost) is painted in oil. Recent research suggests that the painting style resembles that of artists in 18th-century Mexico. The blank altar was probably exported and the design completed there.

","cobas-46-s":"Applied arts"},{"id":"moco_cs-91","common":{"id":"moco_cs-91","title":"青花 蓮池魚藻文 壺","titleEn":"JAR","titleYomi":"せいか れんちぎょそうもん つぼ","lastUpdatedDate":1717081200000,"linkUrl":"https://jmapps.ne.jp/mocoor/det.html?data_id=91","thumbnailUrl":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5346.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5347.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5348.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5349.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5350.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5351.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5352.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4981.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4982.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4983.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4984.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4986.jpg"],"contentsUrl":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5346.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5347.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5348.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5349.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5350.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5351.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5352.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4981.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4982.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4983.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4984.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4986.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["art","cultural"],"description":"元時代に始まった器形で、青白磁、釉裏紅、青磁などにも見られる大ぶりの壺です。本来は蓋を伴い、酒などの液体を入れる容器で、日本では俗に「酒会壺（しゅかいこ）」と呼ばれました。本器は胴部中央に、蓮池をゆうゆうと泳ぐケツギョ、草魚などを描いています。魚藻文は元時代の陶磁器にしばしば見られるテーマであり、江南地方の民間絵画の画題としても流行しました。魚の中国語音が「余」に通じ、財産が余るという吉祥の文様でもあります。また、卵を多く産むことから子孫繁栄をも表します。形、文様、コバルト顔料の発色などすべての点で申し分のない、元時代の青花磁器を代表する作品の一つです。","descriptionEn":"The form of this large jar began to appear in the Yuan dynasty","contributor":["景徳鎮窯","Jingdezhen ware"],"temporal":["元時代","14世紀","Yuan dynasty","14th century"],"provider":"moco_toyotoji","ownerOrg":"ZENBI","database":"moco_cs","apiType":"ok","subCategory":["陶磁器","東洋","中国陶磁","韓国陶磁","日本陶磁"],"access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["1301～1400年"],"spatial":["海外 > アジア > 中国"]},"moco_cs-0-s":"91","moco_cs-1-s":"青花 蓮池魚藻文 壺","moco_cs-2-s":["JAR"," blue-and-white porcelain with design of fish and water plants in a lotus pond"],"moco_cs-3-s":"せいか れんちぎょそうもん つぼ","moco_cs-4-s":"20240531","moco_cs-5-u":"https://jmapps.ne.jp/mocoor/det.html?data_id=91","moco_cs-6-u":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5346.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5347.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5348.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5349.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5350.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5351.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/5352.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4981.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4982.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4983.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4984.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/mid/4986.jpg"],"moco_cs-7-u":["https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5346.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5347.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5348.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5349.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5350.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5351.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/5352.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4981.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4982.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4983.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4984.jpg","https://ibmuseum.mapps.ne.jp/files/1118/media_files/large/4986.jpg"],"moco_cs-8-c":"ccby","moco_cs-9-c":"internet","moco_cs-10-c":"image","moco_cs-11-s":"元時代に始まった器形で、青白磁、釉裏紅、青磁などにも見られる大ぶりの壺です。本来は蓋を伴い、酒などの液体を入れる容器で、日本では俗に「酒会壺（しゅかいこ）」と呼ばれました。本器は胴部中央に、蓮池をゆうゆうと泳ぐケツギョ、草魚などを描いています。魚藻文は元時代の陶磁器にしばしば見られるテーマであり、江南地方の民間絵画の画題としても流行しました。魚の中国語音が「余」に通じ、財産が余るという吉祥の文様でもあります。また、卵を多く産むことから子孫繁栄をも表します。形、文様、コバルト顔料の発色などすべての点で申し分のない、元時代の青花磁器を代表する作品の一つです。","moco_cs-12-s":["The form of this large jar began to appear in the Yuan dynasty"," and they have been decorated using various media"," including qingbai glaze"," celadon glaze"," or underglaze copper-red paint. Known in Japan as shukaiko"," meaning jar for wine gatherings"," such jars originally had a lid and contained liquor or other liquid. The center of the body bears a decoration of several types of fish swimming spontaneously in the lotus pond. A combined design of fish and water plants is a common motif found in Yuan ceramics"," also popularly adopted in folk paintings of the Jiangnan region (the southern area of the Yangzi River). The Chinese word for fish is yu"," which is homonymous with the word for abundance"," making the fish an auspicious motif symbolizing abundance of wealth. It is also a symbol of prosperity of posterity as fish lay many eggs. This is undoubtedly one of the masterworks of the Yuan blue-and-white porcelain in terms of the outstanding workmanship in every element"," including the form"," decoration"," and the color of the cobalt blue."],"moco_cs-13-s":"景徳鎮窯","moco_cs-14-s":"元時代","moco_cs-15-s":"14世紀","moco_cs-16-s":"重要文化財","moco_cs-17-s":"28.2","moco_cs-20-s":"安宅コレクション","moco_cs-21-s":"大阪市立東洋陶磁美術館(住友グループ寄贈/安宅コレクション)　写真：〓（各画像左下の撮影者名を記入のこと）","moco_cs-22-s":"00728","moco_cs-23-s":"The ATAKA Collection","moco_cs-24-s":"Yuan dynasty","moco_cs-25-s":"14th century","moco_cs-26-s":"Important Cultural Property","moco_cs-27-s":["The Museum of Oriental Ceramics"," Osaka (gift of SUMITOMO Group"," the ATAKA Collection)"," photograph by 〓（Please credit the name of the photographer which is indicated at the bottom left of each image）"],"moco_cs-28-s":["6","060"],"moco_cs-29-s":"Jingdezhen ware","moco_cs-30-s":"33.4"},{"id":"cobas-147868","common":{"id":"cobas-147868","title":"安南染付唐草文香合","titleEn":"Incense Container with Vines","titleYomi":"あんなんそめつけからくさもんこうごう","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/TG-2227","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/TG-2227/image/slideshow_s/TG-2227_E0090762.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/TG-2227/image/slideshow_s/TG-2227_E0090762.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"

【東洋館用】ベトナムにおける青花の生産は、中国の影響を受けて14世紀の陳王朝の頃に始まりました。本格化するのは次の黎王朝のもとであるといわれています。夾雑物を含んだ半磁質の灰色の胎に白釉で化粧を施し、コバルトで文様を描いた後、上から透明釉を掛けています。

【本館用】ベトナム製のやきもの「安南焼」は、中国景徳鎮窯器とは異なる、温かみのある素地や味わい深い文様が日本の茶人に好まれました。灰色の胎に白釉で化粧をほどこし、そこに下絵付けをして透明釉をかけています。コバルトが墨色がかって独特の趣をみせています。

","contributor":["東京国立博物館","Tokyo National Museum"],"temporal":["15～16世紀","15th–16th century"],"location":["ベトナム","Vietnam"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"751"},"rdfindex":{"type":["陶磁"],"temporal":["15～16世紀"],"spatial":["海外 > アジア > ベトナム"]},"cobas-0-s":"147868","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/TG-2227","cobas-2-s":"TG-2227","cobas-4-s":"東洋陶磁","cobas-5-s":"安南染付唐草文香合","cobas-6-s":"あんなんそめつけからくさもんこうごう","cobas-7-s":"1合","cobas-9-s":"ベトナム","cobas-11-s":"15～16世紀","cobas-12-s":"陶製","cobas-13-s":"高5.7　口径6.3　底径3.4","cobas-16-s":"東京国立博物館","cobas-17-h":"

【東洋館用】ベトナムにおける青花の生産は、中国の影響を受けて14世紀の陳王朝の頃に始まりました。本格化するのは次の黎王朝のもとであるといわれています。夾雑物を含んだ半磁質の灰色の胎に白釉で化粧を施し、コバルトで文様を描いた後、上から透明釉を掛けています。

【本館用】ベトナム製のやきもの「安南焼」は、中国景徳鎮窯器とは異なる、温かみのある素地や味わい深い文様が日本の茶人に好まれました。灰色の胎に白釉で化粧をほどこし、そこに下絵付けをして透明釉をかけています。コバルトが墨色がかって独特の趣をみせています。

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