桃の花咲き続く仙境@せんきょう@に漁師が迷い込み、帰るのを忘れたという陶淵明@とうえんめい@『桃花源記@とうかげんき@』が主題。物語は下から上へ展開、下方に舟上の漁師、桃花の林が続き、奥に桃源郷@とうげんきょう@が広がります。群青@ぐんじょう@や緑青@ろくしょう@など濃厚な絵の具を用いた青緑@せいりょく@山水で、14歳年下の谷文晁@たにぶんちょう@と互いに影響し合った渡辺玄対の代表作です。
","descriptionEn":"A fisherman loses his way in an enchanted land where peach blossoms bloom for eternity, eventually forgetting to return home. Based on this Chinese tale, the painting here develops the story from bottom to top. Arriving on his boat at the bottom, he goes on to the peach forest in the middle and finally reaches the peach blossom spring at the top.
","contributor":["渡辺玄対筆","By Watanabe Gentai (1749–1822)","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・18～19世紀","Edo period, 18th–19th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"cobas-0-s":"38545","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-1028","cobas-2-s":"A-1028","cobas-4-s":"絵画","cobas-5-s":"武陵桃源図","cobas-6-s":"ぶりょうとうげんず","cobas-7-s":"1幅","cobas-8-s":"渡辺玄対筆","cobas-11-s":"江戸時代・18～19世紀","cobas-12-s":"絹本着色","cobas-13-s":"143.9×49.9","cobas-16-s":"東京国立博物館","cobas-17-h":"桃の花咲き続く仙境@せんきょう@に漁師が迷い込み、帰るのを忘れたという陶淵明@とうえんめい@『桃花源記@とうかげんき@』が主題。物語は下から上へ展開、下方に舟上の漁師、桃花の林が続き、奥に桃源郷@とうげんきょう@が広がります。群青@ぐんじょう@や緑青@ろくしょう@など濃厚な絵の具を用いた青緑@せいりょく@山水で、14歳年下の谷文晁@たにぶんちょう@と互いに影響し合った渡辺玄対の代表作です。
","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"1998","cobas-22-s":"38545","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"The Peach Blossom Spring of Wuling","cobas-34-s":"By Watanabe Gentai (1749–1822)","cobas-37-s":"Edo period, 18th–19th century","cobas-38-s":"Color on silk","cobas-42-s":"Tokyo National Museum","cobas-43-h":"A fisherman loses his way in an enchanted land where peach blossoms bloom for eternity, eventually forgetting to return home. Based on this Chinese tale, the painting here develops the story from bottom to top. Arriving on his boat at the bottom, he goes on to the peach forest in the middle and finally reaches the peach blossom spring at the top.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"tfam_art_db-6525","common":{"id":"tfam_art_db-6525","title":"美人四季 山百合（夏）","titleEn":"Beauties of the Four Seasons: Gold-banded Lilies (Summer)","titleYomi":"びじんしき やまゆり（なつ）","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/06525/","contentsType":"image","contentsRightsType":"cc0","contentsAccess":"not_exist","category":["art","cultural"],"description":"美人と四季の風物を取り合わせたシリーズで、「春」「夏」「秋」「冬」を題材にした4幅の掛軸からなる。それぞれの場面、配された花などから、四季を読みとることができる。また、描かれた女性の髪型や服飾、手にしている小物、道具、インテリアなどの一つ一つにも、作家自身の意図と情趣が感じられ、おもしろみがある。清方ならではの庶民的風情とロマンが漂う美人画シリーズの名作。","contributor":["鏑木清方","Kaburaki Kiyokata"],"temporal":["昭和25年（1950）","1950"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["絵画"],"temporal":["昭和"],"spatial":["日本"]},"tfam_art_db-0-s":"6525","tfam_art_db-1-s":"鏑木清方","tfam_art_db-2-s":"Kaburaki Kiyokata","tfam_art_db-3-s":"かぶらききよかた","tfam_art_db-4-s":"明治11（1878）-昭和47（1972）","tfam_art_db-5-s":"1878-1972","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"東京に生まれる。明治24年（1891）、浮世絵系の水野年方の入門。同27年（1894）頃から新聞挿絵を手がける。後、紫紅会改め烏合会を結成し、《一葉女史の墓》（鎌倉市鏑木清方記念美術館蔵）など力作を発表。第９回文展で2等賞首席を受賞。大正6年（1917）に松岡映丘らと金鈴社を結成。昭和2年（1927）の帝展に代表作《築地明石町》（東京国立近代美術館蔵）を出品。帝国美術院賞を受賞。同29年（1954）、文化勲章を受章した。","tfam_art_db-9-s":"Born in Tokyo. In 1891 Kaburaki Kiyokata became a disciple of ukiyo-e painter Mizuno Toshitaka. From 1894 he began to work on newspaper illustrations. Later he formed Shikokai, then named Ugoukai, and from that group he published Ichiyo Joshi no Haka (The Grave of Authoress Higuchi Ichiyo”). He received the second award, which was the highest given, in the 9th Bun-ten exhibition. In 1917 he formed the Kinrei-sha artists’ group with Matsuoka Eikyu and others. In 1927 he submitted the work Tsukiji-Akashicho to the 8th Teiten exhibition, and was awarded the Imperial Academy of Fine Arts Prize. He received the Cultural Medal in 1954.","tfam_art_db-10-s":"美人四季 山百合（夏）","tfam_art_db-11-s":"Beauties of the Four Seasons: Gold-banded Lilies (Summer)","tfam_art_db-12-s":"びじんしき やまゆり（なつ）","tfam_art_db-13-s":"1","tfam_art_db-14-s":"昭和25年（1950）","tfam_art_db-15-s":"1950","tfam_art_db-16-s":"絹本着色 軸装（四幅対の内）","tfam_art_db-17-s":"Color on silk, hanging scroll (one of tetraptych)","tfam_art_db-18-s":"48.5×57.1cm","tfam_art_db-19-s":"48.5 x 57.1 cm","tfam_art_db-20-s":"美人と四季の風物を取り合わせたシリーズで、「春」「夏」「秋」「冬」を題材にした4幅の掛軸からなる。それぞれの場面、配された花などから、四季を読みとることができる。また、描かれた女性の髪型や服飾、手にしている小物、道具、インテリアなどの一つ一つにも、作家自身の意図と情趣が感じられ、おもしろみがある。清方ならではの庶民的風情とロマンが漂う美人画シリーズの名作。","tfam_art_db-21-s":"This series of four hanging scrolls with the themes of spring, summer, autumn and winter combines the beauty of woman with the scenery of each season. From the scene and the flowers arranged in each scroll the season can be understood. All of the hairstyles and fashion, the little items and tools, and the interiors also recall specific intentions and sentiments, adding to the attraction. It is a masterpiece of bijinga work, with an atmosphere of unpretentious taste and romanticism that is unique to Kaburaki Kiyokata.","tfam_art_db-22-s":"日本画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/06525/"},{"id":"tfam_art_db-6526","common":{"id":"tfam_art_db-6526","title":"美人四季 芳宜の細道（秋）","titleEn":"Beauties of the Four Seasons: Path Under the Bush Clovers (Autumn)","titleYomi":"びじんしき はぎのほそみち（あき）","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/06526/","contentsType":"image","contentsRightsType":"cc0","contentsAccess":"not_exist","category":["art","cultural"],"description":"美人と四季の風物を取り合わせたシリーズで、「春」「夏」「秋」「冬」を題材にした4幅の掛軸からなる。それぞれの場面、配された花などから、四季を読みとることができる。また、描かれた女性の髪型や服飾、手にしている小物、道具、インテリアなどの一つ一つにも、作家自身の意図と情趣が感じられ、おもしろみがある。清方ならではの庶民的風情とロマンが漂う美人画シリーズの名作。","contributor":["鏑木清方","Kaburaki Kiyokata"],"temporal":["昭和25年（1950）","1950"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"914"},"rdfindex":{"type":["絵画"],"temporal":["昭和"],"spatial":["日本"]},"tfam_art_db-0-s":"6526","tfam_art_db-1-s":"鏑木清方","tfam_art_db-2-s":"Kaburaki Kiyokata","tfam_art_db-3-s":"かぶらききよかた","tfam_art_db-4-s":"明治11（1878）-昭和47（1972）","tfam_art_db-5-s":"1878-1972","tfam_art_db-6-s":"日本","tfam_art_db-7-s":"Japanese","tfam_art_db-8-s":"東京に生まれる。明治24年（1891）、浮世絵系の水野年方の入門。同27年（1894）頃から新聞挿絵を手がける。後、紫紅会改め烏合会を結成し、《一葉女史の墓》（鎌倉市鏑木清方記念美術館蔵）など力作を発表。第９回文展で2等賞首席を受賞。大正6年（1917）に松岡映丘らと金鈴社を結成。昭和2年（1927）の帝展に代表作《築地明石町》（東京国立近代美術館蔵）を出品。帝国美術院賞を受賞。同29年（1954）、文化勲章を受章した。","tfam_art_db-9-s":"Born in Tokyo. In 1891 Kaburaki Kiyokata became a disciple of ukiyo-e painter Mizuno Toshitaka. From 1894 he began to work on newspaper illustrations. Later he formed Shikokai, then named Ugoukai, and from that group he published Ichiyo Joshi no Haka (The Grave of Authoress Higuchi Ichiyo”). He received the second award, which was the highest given, in the 9th Bun-ten exhibition. In 1917 he formed the Kinrei-sha artists’ group with Matsuoka Eikyu and others. In 1927 he submitted the work Tsukiji-Akashicho to the 8th Teiten exhibition, and was awarded the Imperial Academy of Fine Arts Prize. He received the Cultural Medal in 1954.","tfam_art_db-10-s":"美人四季 芳宜の細道（秋）","tfam_art_db-11-s":"Beauties of the Four Seasons: Path Under the Bush Clovers (Autumn)","tfam_art_db-12-s":"びじんしき はぎのほそみち（あき）","tfam_art_db-13-s":"1","tfam_art_db-14-s":"昭和25年（1950）","tfam_art_db-15-s":"1950","tfam_art_db-16-s":"絹本着色 軸装（四幅対の内）","tfam_art_db-17-s":"Color on silk, hanging scroll (one of tetraptych)","tfam_art_db-18-s":"51.2×57.0cm","tfam_art_db-19-s":"51.2 x 57.0 cm","tfam_art_db-20-s":"美人と四季の風物を取り合わせたシリーズで、「春」「夏」「秋」「冬」を題材にした4幅の掛軸からなる。それぞれの場面、配された花などから、四季を読みとることができる。また、描かれた女性の髪型や服飾、手にしている小物、道具、インテリアなどの一つ一つにも、作家自身の意図と情趣が感じられ、おもしろみがある。清方ならではの庶民的風情とロマンが漂う美人画シリーズの名作。","tfam_art_db-21-s":"This series of four hanging scrolls with the themes of spring, summer, autumn and winter combines the beauty of woman with the scenery of each season. From the scene and the flowers arranged in each scroll the season can be understood. All of the hairstyles and fashion, the little items and tools, and the interiors also recall specific intentions and sentiments, adding to the attraction. It is a masterpiece of bijinga work, with an atmosphere of unpretentious taste and romanticism that is unique to Kaburaki Kiyokata.","tfam_art_db-22-s":"日本画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/06526/"},{"id":"tfam_art_db-619","common":{"id":"tfam_art_db-619","title":"鳩","titleEn":"Dove","titleYomi":"はと","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/00619/","contentsType":"image","contentsRightsType":"cc0","contentsAccess":"not_exist","category":["art","cultural"],"description":"モノトーンの階調のみによる表現の豊かさ。柔らかい羽毛の感触を導き出す筆触の暖かさ。リト・インクで手に入れることのできる淡彩風の美しい効果を最大に発揮した傑作である。この作品はパリで開催された国際平和会議のポスターの原画として制作したもので、50部が刷られた。その写真複製がポスターとなり、ピカソの鳩は平和の象徴として世界中を飛んだのである。アトリエでも鳩を飼っていた彼は、愛娘にもパロマ（鳩）という名前をつけた。","contributor":["パブロ・ピカソ","Pablo Picasso"],"temporal":["1949年","1949"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"723"},"rdfindex":{"type":["版画"],"temporal":["昭和"],"spatial":["海外 > ヨーロッパ > スペイン"]},"tfam_art_db-0-s":"619","tfam_art_db-1-s":"パブロ・ピカソ","tfam_art_db-2-s":"Pablo Picasso","tfam_art_db-3-s":"ぴかそ、ぱぶろ","tfam_art_db-4-s":"1881-1973","tfam_art_db-5-s":"1881-1973","tfam_art_db-6-s":"スペイン","tfam_art_db-7-s":"Spanish","tfam_art_db-8-s":"スペインの画家。20世紀前半の視覚芸術の展開を支配した大きな存在で、ブラックとともにキュビスムの創始者。1901年からの“青の時代”を経て、1904年にパリの「洗濯船」に定住。抒情的な“バラ色の時代”の後、1907年に20世紀絵画の出発点とされる《アヴィニョンの娘たち》を描く。古典主義、キュビスム、シュルレアリスム等の多様な領域で独創的な作品を次々と発表した。1937年の《ゲルニカ》は最大の傑作の一つ。二千点を超える版画にも名作が多い。","tfam_art_db-10-s":"鳩","tfam_art_db-11-s":"Dove","tfam_art_db-12-s":"はと","tfam_art_db-13-s":"1","tfam_art_db-14-s":"1949年","tfam_art_db-15-s":"1949","tfam_art_db-16-s":"リトグラフ","tfam_art_db-17-s":"Lithograph","tfam_art_db-18-s":"54.0×70.0cm","tfam_art_db-19-s":"54.0 x 70.0 cm","tfam_art_db-20-s":"モノトーンの階調のみによる表現の豊かさ。柔らかい羽毛の感触を導き出す筆触の暖かさ。リト・インクで手に入れることのできる淡彩風の美しい効果を最大に発揮した傑作である。この作品はパリで開催された国際平和会議のポスターの原画として制作したもので、50部が刷られた。その写真複製がポスターとなり、ピカソの鳩は平和の象徴として世界中を飛んだのである。アトリエでも鳩を飼っていた彼は、愛娘にもパロマ（鳩）という名前をつけた。","tfam_art_db-21-s":"This masterpiece exerted to the fullest the beautiful effects of ink-and-wash style that can be acquired with lithographic ink—a rich representation that is created solely with a monotone gradation, and a warm brushstroke that brings out the soft texture of feathers. The Dove was created as an original drawing for a poster for the World Congress of Partisans for Peace in Paris, and its 50 copies were printed. This photoduplication was turned into a poster, and Picasso’s dove flew around the world as a symbol of peace. The artist kept doves in his studio and named his beloved daughter Paloma, which means “dove” in Spanish.","tfam_art_db-22-s":"版画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/00619/"},{"id":"tfam_art_db-1272","common":{"id":"tfam_art_db-1272","title":"曲馬","titleEn":"The Circus","titleYomi":"きょくば","lastUpdatedDate":1767937192448,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/01272/","contentsType":"image","contentsRightsType":"cc0","contentsAccess":"not_exist","category":["art","cultural"],"description":"「サーカス」は彼の絵の重要なテーマの一つ。大勢の観衆が見守るなか、舞台では白馬に乗った女曲馬師がピエロのもつ大きな輪の前にたち、その向こうには空中ブランコをする女曲芸師や鶏を持った男、ロバの頭をした人物の姿も見える。澄んだブルーをバックに、黄色や赤などの色彩が散りばめられた画面はまるで子どもの夢の中の出来事のようである。自己の内面世界を詩情に満ちた幻想的な画面として作品化したシャガールの不思議な美しさに満ちた作品である。","contributor":["マルク・シャガール","Marc Chagall"],"temporal":["1967年","1967"],"provider":"fujibi","ownerOrg":"ZENBI","database":"tfam_art_db","apiType":"ok","subCategory":["西洋美術","東洋美術","日本美術"],"access":"PUBLIC","dclass":"723"},"rdfindex":{"type":["絵画"],"temporal":["昭和"]},"tfam_art_db-0-s":"1272","tfam_art_db-1-s":"マルク・シャガール","tfam_art_db-2-s":"Marc Chagall","tfam_art_db-3-s":"しゃがーる、まるく","tfam_art_db-4-s":"1887-1985","tfam_art_db-5-s":"1887-1985","tfam_art_db-6-s":"ロシア（主にフランスで活動）","tfam_art_db-7-s":"Russian (Active mainly in France)","tfam_art_db-8-s":"ロシア・ヴィテブスクに生まれる。幻想的絵画の画家。1910年パリに出て名声を確立し、1914年祖国へ戻る。出身地に美術学校をつくり、政府から美術人民委員に任命されるなど多方面で活躍したが、意見が合わず辞任。劇場の装飾に携わる。1922年には再びパリへ、後にアメリカ、メキシコにて制作活動を行う。1964年にはパリ・オペラ座の天井画を手がける。フランス風表現主義のすぐれた担い手で〈永遠の愛〉をテーマに幻想的な画面を構成した。","tfam_art_db-10-s":"曲馬","tfam_art_db-11-s":"The Circus","tfam_art_db-12-s":"きょくば","tfam_art_db-13-s":"1","tfam_art_db-14-s":"1967年","tfam_art_db-15-s":"1967","tfam_art_db-16-s":"油彩、カンヴァスに貼った紙","tfam_art_db-17-s":"Oil on paper mounted on canvas","tfam_art_db-18-s":"38.0×57.2cm","tfam_art_db-19-s":"38.0 x 57.2 cm","tfam_art_db-20-s":"「サーカス」は彼の絵の重要なテーマの一つ。大勢の観衆が見守るなか、舞台では白馬に乗った女曲馬師がピエロのもつ大きな輪の前にたち、その向こうには空中ブランコをする女曲芸師や鶏を持った男、ロバの頭をした人物の姿も見える。澄んだブルーをバックに、黄色や赤などの色彩が散りばめられた画面はまるで子どもの夢の中の出来事のようである。自己の内面世界を詩情に満ちた幻想的な画面として作品化したシャガールの不思議な美しさに満ちた作品である。","tfam_art_db-21-s":"A “circus” is one of the important subjects in Chagall’s painting. While a large audience is watching, a female circus rider on a white horse stands in front of a large ring held by a clown, and beyond the rider are seen a female acrobat riding a trapeze, a man holding a chicken, and a person with the head of a donkey. With vivid colors such as yellows and reds scattered around against a clear blue background, the painting seems to represent an event in a child’s dream. It is a work filled with the mysterious beauty of Chagall, who transformed his own inner world into a fantastical picture full of poetical sentiment.","tfam_art_db-22-s":"油彩画","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/01272/"},{"id":"cobas-38459","common":{"id":"cobas-38459","title":"勿来関図","titleEn":"The Nakoso Barrier","titleYomi":"なこそのせきず","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-940","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"not_exist","category":["cultural","art"],"description":"『千載和歌集』に掲載される源義家の歌詠みの情景を描いた作品です。勿来関は常陸国と陸奥国の境（福島県いわき市辺り）にあたる関で、義家はそこを通り過ぎる際、桜が散るのを見て歌を詠んだといいます。幕府の御用絵師であった板谷慶舟広当66歳の作品です。（せんざいわかしゅう）（なこそのせき）（ひたちのくに）（むつのくに）（いたやけいしゅうひろまさ）
","descriptionEn":"Here, the samurai Minamoto no Yoshiie (1039–1106) crosses the Nakoso Barrier, a checkpoint in present-day Fukushima Prefecture. Seeing the fallen cherry blossom petals on the ground, he is inspired to write a [waka] poem, which is collected in an imperial collection of poetry entitled [Senzai Wakashū].
","contributor":["板谷慶舟〈広当〉筆","By Itaya Hiromasa (1730–1797)","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・寛政6年(1794)","Edo period, 1794"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"cobas-0-s":"38459","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-940","cobas-2-s":"A-940","cobas-4-s":"絵画","cobas-5-s":"勿来関図","cobas-6-s":"なこそのせきず","cobas-7-s":"1幅","cobas-8-s":"板谷慶舟〈広当〉筆","cobas-11-s":"江戸時代・寛政6年(1794)","cobas-12-s":"絹本着色","cobas-13-s":"109.0×53.0","cobas-14-s":"住吉慶舟行年六十六歳画 ; 和画一流","cobas-16-s":"東京国立博物館","cobas-17-h":"『千載和歌集』に掲載される源義家の歌詠みの情景を描いた作品です。勿来関は常陸国と陸奥国の境（福島県いわき市辺り）にあたる関で、義家はそこを通り過ぎる際、桜が散るのを見て歌を詠んだといいます。幕府の御用絵師であった板谷慶舟広当66歳の作品です。（せんざいわかしゅう）（なこそのせき）（ひたちのくに）（むつのくに）（いたやけいしゅうひろまさ）
","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"1819","cobas-22-s":"38459","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"The Nakoso Barrier","cobas-34-s":"By Itaya Hiromasa (1730–1797)","cobas-37-s":"Edo period, 1794","cobas-38-s":"Color on silk","cobas-42-s":"Tokyo National Museum","cobas-43-h":"Here, the samurai Minamoto no Yoshiie (1039–1106) crosses the Nakoso Barrier, a checkpoint in present-day Fukushima Prefecture. Seeing the fallen cherry blossom petals on the ground, he is inspired to write a [waka] poem, which is collected in an imperial collection of poetry entitled [Senzai Wakashū].
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-81895","common":{"id":"cobas-81895","title":"模造 黒柿蘇芳染金銀山水絵箱","titleEn":"(Copy) Box, Design of landscape in gold and silver painting.","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/H-1142","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"not_exist","category":["cultural","art"],"description":"表面を蘇芳染として、金泥と銀泥で文様を描いた献物箱。蓋表には金泥で山岳に飛鳥・瑞雲を描き、樹木の葉と山裾の草に銀泥を交える。原品の身のほとんどは明治期に補われた部材で、文様がない。模造はこの後補をそのまま模している。
表面を蘇芳染として、金泥と銀泥で文様を描いた献物箱。蓋表には金泥で山岳に飛鳥・瑞雲を描き、樹木の葉と山裾の草に銀泥を交える。原品の身のほとんどは明治期に補われた部材で、文様がない。模造はこの後補をそのまま模している。
三条西実隆は室町時代後期の公家で、博識で知られ有職故実(ゆうそくこじつ)の大家として三代の天皇に仕えた。本書状は文明14年(1482)に中院通秀(なかのいんみちひで)に宛てたもの。実隆28歳の筆跡で、朝儀に関する装束の準備の遅れを詫び、裁断の残り切れの返送する旨を伝えている。(2005/08/09_h21)
","contributor":["三条西実隆筆","By Sanjonishi Sanetaka (1455-1537)","東京国立博物館","Tokyo National Museum"],"temporal":["室町時代・15世紀","Muromachi period, 15th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"210"},"rdfindex":{"type":["書跡"],"temporal":["室町時代"]},"cobas-0-s":"57453","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-2388","cobas-2-s":"B-2388","cobas-4-s":"書跡","cobas-5-s":"書状","cobas-7-s":"1幅","cobas-8-s":"三条西実隆筆","cobas-11-s":"室町時代・15世紀","cobas-12-s":"紙本墨書","cobas-16-s":"東京国立博物館","cobas-17-h":"三条西実隆は室町時代後期の公家で、博識で知られ有職故実(ゆうそくこじつ)の大家として三代の天皇に仕えた。本書状は文明14年(1482)に中院通秀(なかのいんみちひで)に宛てたもの。実隆28歳の筆跡で、朝儀に関する装束の準備の遅れを詫び、裁断の残り切れの返送する旨を伝えている。(2005/08/09_h21)
","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"32923","cobas-22-s":"57453","cobas-31-s":"Calligraph","cobas-32-s":"Letter","cobas-34-s":"By Sanjonishi Sanetaka (1455-1537)","cobas-37-s":"Muromachi period, 15th century","cobas-38-s":"Ink on paper","cobas-42-s":"Tokyo National Museum"},{"id":"cobas-128220","common":{"id":"cobas-128220","title":"旧儀式図画帖","titleYomi":"きゅうぎしきずがじょう","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/QA-4000","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"not_exist","category":["cultural","art"],"description":"かつて宮廷では三月三日には闘鶏が行なわれた。これは中国の唐の玄宗皇帝が酉年の生まれであり、旧暦三月の清明節に闘鶏を楽しんだことに由来するという。本図は江戸時代の宮廷行事を描いた図画帖のなかの、仙洞御所（上皇の御所）で行なわれた闘鶏の場面。(170102_h021.22_初もうで）
かつて宮廷では三月三日には闘鶏が行なわれた。これは中国の唐の玄宗皇帝が酉年の生まれであり、旧暦三月の清明節に闘鶏を楽しんだことに由来するという。本図は江戸時代の宮廷行事を描いた図画帖のなかの、仙洞御所（上皇の御所）で行なわれた闘鶏の場面。(170102_h021.22_初もうで）
如寄は、15世紀後半から16世紀初めにかけて活躍した画家で、遣明使に従って中国(明)に渡った経験がある。如寄の作品には万里集九、了庵桂悟といった雪舟の友人ともいうべき禅僧が賛を書いており、如寄と雪舟の直接の交流もありえる。
如寄は、15世紀後半から16世紀初めにかけて活躍した画家で、遣明使に従って中国(明)に渡った経験がある。如寄の作品には万里集九、了庵桂悟といった雪舟の友人ともいうべき禅僧が賛を書いており、如寄と雪舟の直接の交流もありえる。
栗本丹州が部類別に作った約30巻の著作のうちの一つ。紀伊国熊野浦での鯨船、捕鯨用具や「噴潮之図」の他、アカボウ鯨より長須鯨にいたる11頭の鯨図を収めている。末には文政3年（1820）品川浦にて捕獲したゴンドウ鯨の図と寸法書がある。
栗本丹州が部類別に作った約30巻の著作のうちの一つ。紀伊国熊野浦での鯨船、捕鯨用具や「噴潮之図」の他、アカボウ鯨より長須鯨にいたる11頭の鯨図を収めている。末には文政3年（1820）品川浦にて捕獲したゴンドウ鯨の図と寸法書がある。
筆者の千葉龍卜は、活け花の源氏流を称え、『源氏活花記』(1765)も刊行している。活け花に様式を与え、徳川幕府の政治倫理に合致する活け花論を唱えたといわれる。本書は、花器の図を紹介したもので、それぞれ、花器の使用歴なども記している。
筆者の千葉龍卜は、活け花の源氏流を称え、『源氏活花記』(1765)も刊行している。活け花に様式を与え、徳川幕府の政治倫理に合致する活け花論を唱えたといわれる。本書は、花器の図を紹介したもので、それぞれ、花器の使用歴なども記している。
髪を丸く結い和服をきて椅子に座る女性の姿を油彩で描いた作品です。画面向かって右の窓から入ってくる光は、女性の左半身や、椅子の背もたれを明るく照らしています。これに対して陰となる部分はトーンを落とし、明暗が対比をなしています。19世紀のヨーロッパ絵画界を中心に、自然光のもとでの事物や風景の色調を表現しようとする「外光派」（がいこうは）の画家たちが活躍しました。この作品の柔らかく明るい色づかいや明暗の対比にも、外光派の画風の特色が見てとれます。また女性の髪形や装いは、当時は一般的であった和装ですが、カーテンや椅子の布素地の模様は洋風です。こうした情景も、当時の世相をよく示しているといえるでしょう。
作者の和田英作は1874年生まれ。原田直次郎（はらだなおじろう）、曽山幸彦（そやまさちひこ）らに指導を受け、黒田清輝（くろだせいき）、久米圭一郎（くめけいいちろう）など外光派の画家のもとで学びました。さらにはフランス・パリに留学し、外光派の画家ラファエル・コランに師事しました。帰国ののちは、旺盛な作画活動と展覧会への出品を行う一方、東京美術学校の教授や校長、数々の美術展覧会の審査員をつとめ、日本洋画の発展に大きな功績を残しました。和田は肖像画を数多く描きましたが、この作品は、寄贈者である波多野元武（はたのもとたけ）氏の母親がモデルとなっています。
和田は、曾山幸彦(そやまさちひこ)、原田直次郎(はらだなおじろう)らに指導を受け、その後、黒田清輝(くろだせいき)の天真道場に学び、さらに渡欧しコランに師事しました。東京美術学校教授や文展審査員となって日本洋画のアカデミズムの確立に貢献しました。本作のモデルは、寄贈者の御母堂です。
","descriptionEn":"This oil painting depicts a woman in a kimono with her hair in a round bun sitting in a chair. The light that filters in through the window on the right-hand side illuminates the left side of the woman’s body and the back of her chair. The darker tones in the shade create a contrast of light and darkness. Outdoor painting, in which the hues of objects and landscapes are rendered in natural lighting, was mainly practiced in 19th-century Europe. The characteristics of this style are visible in this painting’s soft, bright colors and contrast of light and darkness. The woman’s hairstyle and clothing are Japanese, which was typical at that time, but the designs on the chair and curtains are Western. You could say that a scene like this is an excellent representation of Japanese society at that time.
The artist, Wada Eisaku, was born in 1874. He received guidance from Harada Naojirō and Soyama Sachihiko and studied under artists practicing outdoor painting such as Kuroda Seiki and Kume Keiichirō. He also studied abroad in Paris, where he studied under the artist Raphaël Collin, who also practiced outdoor painting. Following his return to Japan, Wada was a prolific painter and submitted works to art exhibitions. At the same time, he also taught as a professor and then headmaster at the Tokyo School of Fine Arts, served as a judge for numerous art exhibitions, and made significant contributions to the development of Japanese oil painting. Wada painted many portraits. This one is modeled on the mother of the person who donated the painting to the Tokyo National Museum, Mr. Hatano Mototake.
Wada Eisaku (1874–1959) created many portraits, including this one depicting the late mother of the person who donated this painting to the Museum. Wada played an important role in establishing the academic system for Western-style painting in Japan.
","contributor":["和田英作筆","By Wada Eisaku (1874–1959)","波多野元武氏寄贈","Gift of Mr. Hatano Mototake","東京国立博物館","Tokyo National Museum"],"temporal":["明治44年(1911)","Meiji era, 1911"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"726"},"rdfindex":{"type":["絵画"],"temporal":["明治","中国・清時代"]},"cobas-0-s":"48103","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-11805","cobas-2-s":"A-11805","cobas-4-s":"絵画","cobas-5-s":"Ｈ夫人肖像","cobas-6-s":"ふじんしょうぞう","cobas-7-s":"1面","cobas-8-s":"和田英作筆","cobas-11-s":"明治44年(1911)","cobas-12-s":"カンバス・油彩","cobas-13-s":"90.1×64.3","cobas-15-s":"波多野元武氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":" 髪を丸く結い和服をきて椅子に座る女性の姿を油彩で描いた作品です。画面向かって右の窓から入ってくる光は、女性の左半身や、椅子の背もたれを明るく照らしています。これに対して陰となる部分はトーンを落とし、明暗が対比をなしています。19世紀のヨーロッパ絵画界を中心に、自然光のもとでの事物や風景の色調を表現しようとする「外光派」（がいこうは）の画家たちが活躍しました。この作品の柔らかく明るい色づかいや明暗の対比にも、外光派の画風の特色が見てとれます。また女性の髪形や装いは、当時は一般的であった和装ですが、カーテンや椅子の布素地の模様は洋風です。こうした情景も、当時の世相をよく示しているといえるでしょう。
作者の和田英作は1874年生まれ。原田直次郎（はらだなおじろう）、曽山幸彦（そやまさちひこ）らに指導を受け、黒田清輝（くろだせいき）、久米圭一郎（くめけいいちろう）など外光派の画家のもとで学びました。さらにはフランス・パリに留学し、外光派の画家ラファエル・コランに師事しました。帰国ののちは、旺盛な作画活動と展覧会への出品を行う一方、東京美術学校の教授や校長、数々の美術展覧会の審査員をつとめ、日本洋画の発展に大きな功績を残しました。和田は肖像画を数多く描きましたが、この作品は、寄贈者である波多野元武（はたのもとたけ）氏の母親がモデルとなっています。
和田は、曾山幸彦(そやまさちひこ)、原田直次郎(はらだなおじろう)らに指導を受け、その後、黒田清輝(くろだせいき)の天真道場に学び、さらに渡欧しコランに師事しました。東京美術学校教授や文展審査員となって日本洋画のアカデミズムの確立に貢献しました。本作のモデルは、寄贈者の御母堂です。
","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"20080","cobas-22-s":"48103","cobas-29-s":"絵画:日本:近代絵画","cobas-31-s":"Painting","cobas-32-s":"Portrait of Madame H","cobas-34-s":"By Wada Eisaku (1874–1959)","cobas-37-s":"Meiji era, 1911","cobas-38-s":"Oil on canvas","cobas-41-s":"Gift of Mr. Hatano Mototake","cobas-42-s":"Tokyo National Museum","cobas-43-h":"This oil painting depicts a woman in a kimono with her hair in a round bun sitting in a chair. The light that filters in through the window on the right-hand side illuminates the left side of the woman’s body and the back of her chair. The darker tones in the shade create a contrast of light and darkness. Outdoor painting, in which the hues of objects and landscapes are rendered in natural lighting, was mainly practiced in 19th-century Europe. The characteristics of this style are visible in this painting’s soft, bright colors and contrast of light and darkness. The woman’s hairstyle and clothing are Japanese, which was typical at that time, but the designs on the chair and curtains are Western. You could say that a scene like this is an excellent representation of Japanese society at that time.
The artist, Wada Eisaku, was born in 1874. He received guidance from Harada Naojirō and Soyama Sachihiko and studied under artists practicing outdoor painting such as Kuroda Seiki and Kume Keiichirō. He also studied abroad in Paris, where he studied under the artist Raphaël Collin, who also practiced outdoor painting. Following his return to Japan, Wada was a prolific painter and submitted works to art exhibitions. At the same time, he also taught as a professor and then headmaster at the Tokyo School of Fine Arts, served as a judge for numerous art exhibitions, and made significant contributions to the development of Japanese oil painting. Wada painted many portraits. This one is modeled on the mother of the person who donated the painting to the Tokyo National Museum, Mr. Hatano Mototake.
Wada Eisaku (1874–1959) created many portraits, including this one depicting the late mother of the person who donated this painting to the Museum. Wada played an important role in establishing the academic system for Western-style painting in Japan.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Modern paintings"},{"id":"cobas-38516","common":{"id":"cobas-38516","title":"商山四皓・竹林七賢図屏風","titleEn":"The Four Elders of Mount Shang; The Seven Sages of the Bamboo Grove","titleYomi":"しょうざんしこう ちくりんのしちけんずびょうぶ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-998","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"not_exist","category":["cultural","art"],"description":" 自然の中で楽しそうに過ごす人物を描く左右一対の屏風です。右は、商山四皓図（しょうざんしこうず）、左は竹林七賢図（ちくりんしちけんず）、どちらも中国の故事に基づいた画題です。
商山四皓とは、秦の始皇帝の没後、乱世を避けて陝西(せんせい)省の商山にかくれた４人の老高士のこと。四皓の皓は白という意味で、四皓とは髪も眉も白い４人の老人のことです。４人は、戦乱が終わって漢の世になり、初代皇帝の高祖に仕えるよう求められましたが、それに応じることはありませんでした。そんな折、高祖の側室が、正室の子どもを追いやって、自分の子どもを皇太子にしようとたくらみます。そこで、正室は商山から四人を呼び、自分の子どもに仕えさせました。これを見た高祖は、正室の子を皇太子にすることを心に決めました。
左隻の竹林の七賢はやはり魏晋交代期の乱世に生きた７人の賢者のこと。いずれも、竹林に集まって酒を酌み交わしていたとされます。
なかでも中心人物とされるのは、詩人として名高い阮籍（げんせき）です。
阮籍が気に入らない人には白い目で対したという逸話から、人を冷たい目でみることを「白眼視」とよぶようになりました。ほかにも、縁談があったとき、60日もの間酒に酔い続けて破談にしたとか、思いのままに馬車を走らせ、道が行き止まりになると慟哭して帰ったとか、奇行の数々が伝えられています。他の６人も、それぞれ自由な思想と個性的な言動で知られますが、こうした態度は、実は乱世を生き抜くためのひとつの手段だったのかもしれません。
右隻の「商山四皓」は、中国の秦時代末に乱世を避けて商山に隠れた４人の賢者のこと。左隻の「竹林七賢」は、同じく魏・晋時代頃に竹林で清談に興じた７人の高士です。狩野派の礎を築いた元信が77歳の時に描いた作で、熟練の域に達した元信の自在な筆法が見て取れます。
＠うせき＠しょうざんしこう＠しん＠させき＠ちくりんのしちけん＠ぎ＠しん＠かのうは＠いしずえ＠もとのぶ
This left-and-right pair of folding screens depicts people enjoying themselves amid nature. Both screens are based on Chinese legends, namely the 'Four Sages on Mount Shang' on the right screen and the 'Seven Sages in the Bamboo Grove' on the left.
The Four Sages on Mount Shang recounts how four virtuous sages hid away on Mount Shang in China's Shaanxi province to escape the turbulence that followed the death of the first Qin emperor, who ruled from 259 BC to 210 BC. When the wars ended and the Han dynasty rose to power, the sages were asked to serve Gaozu, the first emperor of the new dynasty, but they turned down the invitation. At this time, Gaozu's concubine plotted to supplant the son of the emperor's legal wife and install her own child as the crown prince. The legal wife summoned the four sages from Mount Shang and they came to serve her child. On seeing this, Gaozu decided to appoint her son as his successor.
The Seven Sages in the Bamboo Grove on the left screen depicts seven sages who lived in the third century, during the turbulent transition between the Three Kingdoms period and the Jin dynasty. In this painting, they have gathering in a bamboo grove to drink alcohol together.
The central figure here is the renowned poet Ruan Ji.
It is said Ji used to stare at people he disliked with the whites of his eyes. To this day, the phrase 'to look with white eyes' still means 'to look disdainfully at someone' in Japan. Many tales of Ji's eccentric conduct have been passed down to us. There was the time he reacted to a marriage proposal by going on a 60-day drinking spree before breaking it off, for example, or the time he rode his horse-drawn carriage with abandon before lamenting bitterly and heading back when the road came to an end. The other six were also known for their free thinking and idiosyncratic behavior. Perhaps this kind of attitude helped them live through those tumultuous times.
Many Zen monks dreamed of withdrawing into nature to escape from worldly concerns. These screens, perhaps once displayed in a Zen temple, express this ideal through two Chinese legends. On the right are the Four Elders of Mount Shang, who lived on a secluded mountain to avoid political turmoil. On the left are the Seven Sages of the Bamboo Grove, who regularly met in seclusion to enjoy drinking and “pure conversation.”
自然の中で楽しそうに過ごす人物を描く左右一対の屏風です。右は、商山四皓図（しょうざんしこうず）、左は竹林七賢図（ちくりんしちけんず）、どちらも中国の故事に基づいた画題です。
商山四皓とは、秦の始皇帝の没後、乱世を避けて陝西(せんせい)省の商山にかくれた４人の老高士のこと。四皓の皓は白という意味で、四皓とは髪も眉も白い４人の老人のことです。４人は、戦乱が終わって漢の世になり、初代皇帝の高祖に仕えるよう求められましたが、それに応じることはありませんでした。そんな折、高祖の側室が、正室の子どもを追いやって、自分の子どもを皇太子にしようとたくらみます。そこで、正室は商山から四人を呼び、自分の子どもに仕えさせました。これを見た高祖は、正室の子を皇太子にすることを心に決めました。
左隻の竹林の七賢はやはり魏晋交代期の乱世に生きた７人の賢者のこと。いずれも、竹林に集まって酒を酌み交わしていたとされます。
なかでも中心人物とされるのは、詩人として名高い阮籍（げんせき）です。
阮籍が気に入らない人には白い目で対したという逸話から、人を冷たい目でみることを「白眼視」とよぶようになりました。ほかにも、縁談があったとき、60日もの間酒に酔い続けて破談にしたとか、思いのままに馬車を走らせ、道が行き止まりになると慟哭して帰ったとか、奇行の数々が伝えられています。他の６人も、それぞれ自由な思想と個性的な言動で知られますが、こうした態度は、実は乱世を生き抜くためのひとつの手段だったのかもしれません。
右隻の「商山四皓」は、中国の秦時代末に乱世を避けて商山に隠れた４人の賢者のこと。左隻の「竹林七賢」は、同じく魏・晋時代頃に竹林で清談に興じた７人の高士です。狩野派の礎を築いた元信が77歳の時に描いた作で、熟練の域に達した元信の自在な筆法が見て取れます。
＠うせき＠しょうざんしこう＠しん＠させき＠ちくりんのしちけん＠ぎ＠しん＠かのうは＠いしずえ＠もとのぶ
This left-and-right pair of folding screens depicts people enjoying themselves amid nature. Both screens are based on Chinese legends, namely the 'Four Sages on Mount Shang' on the right screen and the 'Seven Sages in the Bamboo Grove' on the left.
The Four Sages on Mount Shang recounts how four virtuous sages hid away on Mount Shang in China's Shaanxi province to escape the turbulence that followed the death of the first Qin emperor, who ruled from 259 BC to 210 BC. When the wars ended and the Han dynasty rose to power, the sages were asked to serve Gaozu, the first emperor of the new dynasty, but they turned down the invitation. At this time, Gaozu's concubine plotted to supplant the son of the emperor's legal wife and install her own child as the crown prince. The legal wife summoned the four sages from Mount Shang and they came to serve her child. On seeing this, Gaozu decided to appoint her son as his successor.
The Seven Sages in the Bamboo Grove on the left screen depicts seven sages who lived in the third century, during the turbulent transition between the Three Kingdoms period and the Jin dynasty. In this painting, they have gathering in a bamboo grove to drink alcohol together.
The central figure here is the renowned poet Ruan Ji.
It is said Ji used to stare at people he disliked with the whites of his eyes. To this day, the phrase 'to look with white eyes' still means 'to look disdainfully at someone' in Japan. Many tales of Ji's eccentric conduct have been passed down to us. There was the time he reacted to a marriage proposal by going on a 60-day drinking spree before breaking it off, for example, or the time he rode his horse-drawn carriage with abandon before lamenting bitterly and heading back when the road came to an end. The other six were also known for their free thinking and idiosyncratic behavior. Perhaps this kind of attitude helped them live through those tumultuous times.
Many Zen monks dreamed of withdrawing into nature to escape from worldly concerns. These screens, perhaps once displayed in a Zen temple, express this ideal through two Chinese legends. On the right are the Four Elders of Mount Shang, who lived on a secluded mountain to avoid political turmoil. On the left are the Seven Sages of the Bamboo Grove, who regularly met in seclusion to enjoy drinking and “pure conversation.”
能阿弥の孫で、足利義政(1436～1490)に仕えた画家である相阿弥(？～1525)が愛用した裂（きれ）と伝えられています。扇・鼎・如意・宝珠・磬・珊瑚・方勝・唐扇・琵琶・三つ割宝珠などのさまざまな宝文のほか、蘭・桃・菊などの吉祥文様が見られます。
能阿弥の孫で、足利義政(1436～1490)に仕えた画家である相阿弥(？～1525)が愛用した裂（きれ）と伝えられています。扇・鼎・如意・宝珠・磬・珊瑚・方勝・唐扇・琵琶・三つ割宝珠などのさまざまな宝文のほか、蘭・桃・菊などの吉祥文様が見られます。
足利尊氏（1305～58）が、家臣の赤松則祐(あかまつのりすけ)の所領を、他人に与えてしまったことで、息子の義詮(よしあきら)にあてた書状。替わりの土地が京都にあれば、急いで取り計らってほしいと頼んでおり、署判を加えた、礼を重んじた様式である。尊氏が鎌倉にあった48歳の書状と思われる。
足利尊氏（1305～58）が、家臣の赤松則祐(あかまつのりすけ)の所領を、他人に与えてしまったことで、息子の義詮(よしあきら)にあてた書状。替わりの土地が京都にあれば、急いで取り計らってほしいと頼んでおり、署判を加えた、礼を重んじた様式である。尊氏が鎌倉にあった48歳の書状と思われる。