IHSはラテン語の Iesus Hominum Salvator の頭文字で「人類の救い主イエス」という意味である。そしてHの上に十字架を足したものがイエズス会のマークである。３つの釘とあわせて周囲の縁取りで茨の冠を表し、キリストの受難を象徴している。(130319_h16)
The mark of the Society of Jesus is in the center, while the three nails underneath and the triangle shapes suggesting the crown of thorns represent the Passion.
IHSはラテン語の Iesus Hominum Salvator の頭文字で「人類の救い主イエス」という意味である。そしてHの上に十字架を足したものがイエズス会のマークである。３つの釘とあわせて周囲の縁取りで茨の冠を表し、キリストの受難を象徴している。(130319_h16)
The mark of the Society of Jesus is in the center, while the three nails underneath and the triangle shapes suggesting the crown of thorns represent the Passion.
灰褐色を塗りこめた無地の背景に、読書する白髪の男性の上半身を描く。画面左下にはヨーロッパの紋章風の印章がある。本図と同様の絵画様式、ならびに同じ印章と「信方」という墨書を持つ「師父二童子図」（兵庫・神戸市立博物館蔵）、「日教上人像」（兵庫・青蓮寺蔵）があり、本図もこの「信方」なる筆者によるものと考えられる。人物は線描に頼らない西洋絵画の技法で描かれており、イエズス会が17世紀に開校した西洋絵画の画学校で学んだ画家による、初期洋風画人物図の代表作のひとつとみなされる。
","contributor":["伝信方筆","Attributed to Nobukata","九州国立博物館","Kyushu National Museum"],"temporal":["江戸時代 17世紀前半","Edo period Late 17th century"],"provider":"kyuhaku","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"cobas-0-s":"162508","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyuhaku/A103","cobas-2-s":"A103","cobas-4-s":"絵画","cobas-5-s":"老人読書図","cobas-6-s":"ろうじんどくしょず","cobas-7-s":"1面","cobas-8-s":"伝信方筆","cobas-11-s":"江戸時代 17世紀前半","cobas-12-s":"紙本著色","cobas-13-s":"縦24.5 横55.0","cobas-16-s":"九州国立博物館","cobas-17-h":"灰褐色を塗りこめた無地の背景に、読書する白髪の男性の上半身を描く。画面左下にはヨーロッパの紋章風の印章がある。本図と同様の絵画様式、ならびに同じ印章と「信方」という墨書を持つ「師父二童子図」（兵庫・神戸市立博物館蔵）、「日教上人像」（兵庫・青蓮寺蔵）があり、本図もこの「信方」なる筆者によるものと考えられる。人物は線描に頼らない西洋絵画の技法で描かれており、イエズス会が17世紀に開校した西洋絵画の画学校で学んだ画家による、初期洋風画人物図の代表作のひとつとみなされる。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyuhaku/A103/image/slideshow_s/92707.LL.jpg","cobas-19-s":"kyuhaku","cobas-20-s":"eeb7969e20cdb6b82847248e1008d32c","cobas-21-s":"16730","cobas-22-s":"162508","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Paintings","cobas-32-s":"<i>Old Man Reading</i>","cobas-33-s":"1 sheet","cobas-34-s":"Attributed to Nobukata","cobas-37-s":"Edo period Late 17th century","cobas-38-s":"Color on paper","cobas-39-s":"Height 24.5; Width 55.0","cobas-42-s":"Kyushu National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-47466","common":{"id":"cobas-47466","title":"泰西騎士像","titleEn":"European Knight","titleYomi":"たいせいきしぞう","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-10449","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-10449/image/slideshow_s/A-10449_C0050823.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-10449/image/slideshow_s/A-10449_C0050823.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"キリスト教が日本に伝来した16世紀半ば以降、礼拝用の聖画が必要となり、ヨーロッパ製の銅版画や西洋絵画の技法も日本に伝えられました。この西洋画風の騎士像は、カトリックの世界布教に貢献したイエズス会が長崎に設立した画学校で描かれました。
The Jesuits established a painting school in Nagasaki in the late 16th century. Students were taught to produce these kind of oil paintings and engravings at the school.
キリスト教が日本に伝来した16世紀半ば以降、礼拝用の聖画が必要となり、ヨーロッパ製の銅版画や西洋絵画の技法も日本に伝えられました。この西洋画風の騎士像は、カトリックの世界布教に貢献したイエズス会が長崎に設立した画学校で描かれました。
The Jesuits established a painting school in Nagasaki in the late 16th century. Students were taught to produce these kind of oil paintings and engravings at the school.
表はイエズス会創始者イグナチウス・ロヨラ、裏はフランシスコ・ザビエルを表す。小型のメダイによく見られる主題で、長崎、平戸でも同様のメダイが発見されている。頭上に光があることからロヨラもザビエルも聖人として扱われていることがわかる。(130319_h16)
An image of Ignatius of Loyola, the founder of the Society of Jesus, is on the front, while Francis Xavier is depicted on the back.
表はイエズス会創始者イグナチウス・ロヨラ、裏はフランシスコ・ザビエルを表す。小型のメダイによく見られる主題で、長崎、平戸でも同様のメダイが発見されている。頭上に光があることからロヨラもザビエルも聖人として扱われていることがわかる。(130319_h16)
An image of Ignatius of Loyola, the founder of the Society of Jesus, is on the front, while Francis Xavier is depicted on the back.
江戸時代の人々の様子を生き生きと伝える衣裳人形。浮世人形ともよばれ、歌舞伎役者や遊女、若衆など市井（しせい）の人々が題材として選ばれました。なかには両腕を動かすことができるものもあり、思い思いの仕草で楽しむことができます。
江戸時代の人々の様子を生き生きと伝える衣裳人形。浮世人形ともよばれ、歌舞伎役者や遊女、若衆など市井（しせい）の人々が題材として選ばれました。なかには両腕を動かすことができるものもあり、思い思いの仕草で楽しむことができます。
根付は、印籠や煙草入・巾着などを腰に下げるためのホルダー。身につける人の趣味を表わす格好の装身具であり、形や意匠にさまざまな趣向が凝らされている。十二支など動物を主題にしたものは多く、正月にその年の干支を象った根付を用いる人もいたであろう。
根付は、印籠や煙草入・巾着などを腰に下げるためのホルダー。身につける人の趣味を表わす格好の装身具であり、形や意匠にさまざまな趣向が凝らされている。十二支など動物を主題にしたものは多く、正月にその年の干支を象った根付を用いる人もいたであろう。
左胴に矢が刺さり、タテガミを逆立てて興奮する猪を表現した埴輪です。古墳に立てられた埴輪には狩りを再現したものがあり、本品もその一例でしょう。当時の狩猟は自然の恵みに感謝し、豊猟を祈願し占う役割を担った王が行う盛大なイベントでもありました。
This [haniwa] is symbolic of boar hunts by the kings. Those hunts were held to show gratitude towards nature's blessings and pray for abundant game.
左胴に矢が刺さり、タテガミを逆立てて興奮する猪を表現した埴輪です。古墳に立てられた埴輪には狩りを再現したものがあり、本品もその一例でしょう。当時の狩猟は自然の恵みに感謝し、豊猟を祈願し占う役割を担った王が行う盛大なイベントでもありました。
This [haniwa] is symbolic of boar hunts by the kings. Those hunts were held to show gratitude towards nature's blessings and pray for abundant game.
額に鬢幅（びんぷく）をつけた童髷（わらわまげ）に、白小袖、山繭縮緬（やままゆちりめん）の被布（ひふ）を重ねた可愛らしい公家の少年の姿である。鬢幅は元服前の公家少年の特殊な髪形で、前髪を細く2筋とり、2つの輪として額に垂らすのをいう。後にはその髪形を別にこしらえておき、冠下（かんむりした）に結った髪に結びつけた。この人形にはその方式が忠実に写されており、風俗資料としても注目されよう。御所人形は文字通り御所に関係して始められ次第に市井に及んだが、本品などは公家で行なわれた典型をしめし、優れた作域と高い気品をうかがわせる。
","descriptionEn":"This piece is a figure of a sweet young boy, wearing a silk crape coat over a white Kosode garment. His two tied hair-rings on the forehead show the special hair-do for a boy of the noble family before reaching the age of fifteen; later, a ready-made hair-piece came to replace the actual tying of such hair-rings. The doll, faithfully reproducing such a style, is a remarkable relic of the period's manners and customs. A typical example of the Gosho dolls, literally deriving their origin from the Imperial Palace and gradually adopted by the townsfolk, it is a product of excellent workmanship and noble quality.
","contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["江戸時代・19世紀","Edo ・19th"],"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"594"},"rdfindex":{"type":["染織"]},"cobas-0-s":"1769","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/I%E7%94%B257","cobas-2-s":"I甲57","cobas-4-s":"染織","cobas-5-s":"御所人形 被布立姿","cobas-6-s":"ゴショニンギョウ ヒフタチスガタ","cobas-7-s":"1躯","cobas-11-s":"江戸時代・19世紀","cobas-13-s":"高31.5cm","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"額に鬢幅（びんぷく）をつけた童髷（わらわまげ）に、白小袖、山繭縮緬（やままゆちりめん）の被布（ひふ）を重ねた可愛らしい公家の少年の姿である。鬢幅は元服前の公家少年の特殊な髪形で、前髪を細く2筋とり、2つの輪として額に垂らすのをいう。後にはその髪形を別にこしらえておき、冠下（かんむりした）に結った髪に結びつけた。この人形にはその方式が忠実に写されており、風俗資料としても注目されよう。御所人形は文字通り御所に関係して始められ次第に市井に及んだが、本品などは公家で行なわれた典型をしめし、優れた作域と高い気品をうかがわせる。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/I%E7%94%B257/image/slideshow_s/29891_difile3-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"5711","cobas-22-s":"1769","cobas-29-s":"工芸","cobas-31-s":"Textiles","cobas-32-s":"Standing Child Wearing a Coat; Gosho Doll","cobas-37-s":"Edo ・19th","cobas-39-s":"Height31.5cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"This piece is a figure of a sweet young boy, wearing a silk crape coat over a white Kosode garment. His two tied hair-rings on the forehead show the special hair-do for a boy of the noble family before reaching the age of fifteen; later, a ready-made hair-piece came to replace the actual tying of such hair-rings. The doll, faithfully reproducing such a style, is a remarkable relic of the period's manners and customs. A typical example of the Gosho dolls, literally deriving their origin from the Imperial Palace and gradually adopted by the townsfolk, it is a product of excellent workmanship and noble quality.
","cobas-46-s":"Applied arts"},{"id":"cobas-49312","common":{"id":"cobas-49312","title":"假名手本忠臣蔵・五段目","titleEn":"Act 5 of The Treasury of Loyal Retainers","titleYomi":"かなでほんちゅうしんぐら ごだんめ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-10569-702","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-10569-702/image/slideshow_s/A-10569-702_C0083262.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-10569-702/image/slideshow_s/A-10569-702_C0083262.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"『仮名手本忠臣蔵』の五段目を描いた作品。お金を懐に持ち夜道を帰る与市兵衛が、悪役である斧定九郎に殺され、首に掛けた財布を奪われる場面です。その直後、定九郎は猪を撃とうとした勘平の鉄砲の玉に当たって死亡、駆け付けた勘平が金を手にします。
夜の闇の中、黒い着物に身を包んだ悪そうな男が傘ごと老人に切り付ける、何やらおだやかでない場面が繰り広げられています。
江戸時代、元禄年間に起こった赤穂事件を発端にした、家臣47人の敵討ち（かたきうち）を脚色し舞台化したのが『仮名手本忠臣蔵（かなでほんちゅうしんぐら）』。全十一段のうち五段目、夜の山崎街道の場面を描いた、葛飾北斎による浮世絵版画です。
画面の奥に、2人の人物が小さく描かれています。ひとりは主君が切腹をするきっかけとなった事件の場に居合わせなかったことを悔やみつつ、今は猟師となっている早野勘平。もう一人は、偶然出会った元の同僚で、勘平は主君の敵討ちに加えてくれと頼んでいます。そのために必要となる軍資金を、勘平の妻おかるは、身を売ってつくります。画面中央、傘の陰にいるのが、やっと手に入れた五十両を持ち帰ろうとするおかるの父親。なんと悪党の斧定九郎（おの さだくろう）に切り付けられ、金を奪われてしまう場面です。傘に書かれた「一もんじや」は、おかるが身を売った店の名です。筋書では、このあと猟で猪を追ってきた勘平が撃った弾丸がこの悪者にあたって…と、話がどんどん悲しくもつれていきます。その猪が、まさに後ろから飛び出してくる瞬間も描かれ、前景、中景、後景と何層にも重なった時間と悲劇が、この夜の場面にドラマチックに集約されています。
Night has fallen and a fiendish-looking man in black is attacking an elderly man with an umbrella.
Kanadehon Chushingura, or The Treasury of Loyal Retainers, is a famous kabuki play based on an event that occurred at the start of the 18th century, when 47 retainers set out to avenge the death of their master. Katsushika Hokusai has transformed several scenes from the play into an ukiyo-e woodblock print.
Two other figures can be seen in the distance. One of these is Hayano Kanpei, a hunter and former retainer. Kanpei is filled with remorse for being absent when events forced his lord to commit seppuku, or ritual suicide. The other man is also a former retainer who Kanpei has met by chance. Kanpei is asking his former colleague to help him avenge their lord.
Kanpei's wife raised the funds for the campaign by working as a prostitute in a red light district. The man in the center of the screen beneath the umbrella is her father. While returning with the funds, he is set upon by the villainous Ono Sadakuro, who proceeds to steal the money. The story grows even more tragic when this scoundrel is shot by a projectile apparently fired by Kanpei, who was hunting down a wild boar. This scene also captures the moment when the boar leaps out behind Sadakuro.
In this way, Hokusai has portrayed three different moments from this dramatic night across the foreground, middle ground and background of the screen.
『仮名手本忠臣蔵』の五段目を描いた作品。お金を懐に持ち夜道を帰る与市兵衛が、悪役である斧定九郎に殺され、首に掛けた財布を奪われる場面です。その直後、定九郎は猪を撃とうとした勘平の鉄砲の玉に当たって死亡、駆け付けた勘平が金を手にします。
夜の闇の中、黒い着物に身を包んだ悪そうな男が傘ごと老人に切り付ける、何やらおだやかでない場面が繰り広げられています。
江戸時代、元禄年間に起こった赤穂事件を発端にした、家臣47人の敵討ち（かたきうち）を脚色し舞台化したのが『仮名手本忠臣蔵（かなでほんちゅうしんぐら）』。全十一段のうち五段目、夜の山崎街道の場面を描いた、葛飾北斎による浮世絵版画です。
画面の奥に、2人の人物が小さく描かれています。ひとりは主君が切腹をするきっかけとなった事件の場に居合わせなかったことを悔やみつつ、今は猟師となっている早野勘平。もう一人は、偶然出会った元の同僚で、勘平は主君の敵討ちに加えてくれと頼んでいます。そのために必要となる軍資金を、勘平の妻おかるは、身を売ってつくります。画面中央、傘の陰にいるのが、やっと手に入れた五十両を持ち帰ろうとするおかるの父親。なんと悪党の斧定九郎（おの さだくろう）に切り付けられ、金を奪われてしまう場面です。傘に書かれた「一もんじや」は、おかるが身を売った店の名です。筋書では、このあと猟で猪を追ってきた勘平が撃った弾丸がこの悪者にあたって…と、話がどんどん悲しくもつれていきます。その猪が、まさに後ろから飛び出してくる瞬間も描かれ、前景、中景、後景と何層にも重なった時間と悲劇が、この夜の場面にドラマチックに集約されています。
Night has fallen and a fiendish-looking man in black is attacking an elderly man with an umbrella.
Kanadehon Chushingura, or The Treasury of Loyal Retainers, is a famous kabuki play based on an event that occurred at the start of the 18th century, when 47 retainers set out to avenge the death of their master. Katsushika Hokusai has transformed several scenes from the play into an ukiyo-e woodblock print.
Two other figures can be seen in the distance. One of these is Hayano Kanpei, a hunter and former retainer. Kanpei is filled with remorse for being absent when events forced his lord to commit seppuku, or ritual suicide. The other man is also a former retainer who Kanpei has met by chance. Kanpei is asking his former colleague to help him avenge their lord.
Kanpei's wife raised the funds for the campaign by working as a prostitute in a red light district. The man in the center of the screen beneath the umbrella is her father. While returning with the funds, he is set upon by the villainous Ono Sadakuro, who proceeds to steal the money. The story grows even more tragic when this scoundrel is shot by a projectile apparently fired by Kanpei, who was hunting down a wild boar. This scene also captures the moment when the boar leaps out behind Sadakuro.
In this way, Hokusai has portrayed three different moments from this dramatic night across the foreground, middle ground and background of the screen.
讃窯は現在の香川県東かがわ市に置かれた高松藩の御庭焼で、天保3年(1832)に京焼の陶工仁阿弥道八とその弟子を招いて開かれました。本作は乾山風の色絵陶器の技法で内外に紫陽花の文様が描かれ、底裏には亀甲枠囲み（六角形）の｢讃窯｣の印が捺されています。
","descriptionEn":"The Kyoto potter Nin'nami Dōhachi (1783–1855) established private kilns for the samurai lords of Takamatsu domain. Called the San kilns, they produced many works based on Kyoto pottery. Here, a combination of white clay and glossy blue enamel makes the hydrangea flowers stand out vividly against the background.
讃窯は現在の香川県東かがわ市に置かれた高松藩の御庭焼で、天保3年(1832)に京焼の陶工仁阿弥道八とその弟子を招いて開かれました。本作は乾山風の色絵陶器の技法で内外に紫陽花の文様が描かれ、底裏には亀甲枠囲み（六角形）の｢讃窯｣の印が捺されています。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/G-920/image/slideshow_s/G-920_E0182197.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"56949","cobas-22-s":"78695","cobas-31-s":"Ceramics","cobas-32-s":"Bowl with Hydrangeas","cobas-34-s":"San ware","cobas-37-s":"Edo period, 19th century","cobas-38-s":"Stoneware with overglaze enamel","cobas-42-s":"Tokyo National Museum","cobas-43-h":"The Kyoto potter Nin'nami Dōhachi (1783–1855) established private kilns for the samurai lords of Takamatsu domain. Called the San kilns, they produced many works based on Kyoto pottery. Here, a combination of white clay and glossy blue enamel makes the hydrangea flowers stand out vividly against the background.
真剣な眼差しで岩壁に詩を書きつける寒山、その姿を見て口を開けて笑う拾得、背中を撫でられ気持ちよさげな虎。三者の表情とポーズの対照が見どころ。岩の湾曲が寒山を包み、虎の前足から尻尾までの湾曲が拾得を包む。水墨の美しい諧調は芦雪ならではだ。
真剣な眼差しで岩壁に詩を書きつける寒山、その姿を見て口を開けて笑う拾得、背中を撫でられ気持ちよさげな虎。三者の表情とポーズの対照が見どころ。岩の湾曲が寒山を包み、虎の前足から尻尾までの湾曲が拾得を包む。水墨の美しい諧調は芦雪ならではだ。
公家や武家、そして庶民にいたる様々な階層の風俗を描く。右端には旧暦正月の羽根つきや毬打＊だきゅう＊、二番目の画面には三月の花見、左端には十二月の雪遊びなどが見える。季節や月ごとの行事を描く、伝統的なやまと絵画題である月次絵＊つきなみえ＊の形式を継承したもの。
日本の伝統的な大和絵の画題のひとつに、1年12ヵ月の行事や風俗、自然の美しい景観などを月の順に並べて描く「月次絵」（つきなみえ）があります。平安時代中期（9世紀末～10世紀）以降に、和歌と結びついて流行したもので、画面にはそれぞれの月の情景を詠みこんだ和歌が書かれていることも多く、歌枕（うたまくら）などで知られた諸国の名所が、それにふさわしい月の風景として描かれる名所絵風のものもありました。
この作品は、その「月次絵」の形式を継承して、室町時代・16世紀に描かれたものです。公家や武家、そして庶民にいたるまで、様々な階層の人々の風俗が描かれています。
向かって右から、旧暦正月の羽根つきと打毬（だきゅう）、2枚目のパネルは3月の花見を、3枚目と4枚目は5月の田植えの風景を連続して描いています。以下、5枚目は5月で競馬（くらべうま）と衣更（ころもがえ）、6枚目は月が不明ですが犬追物（いぬおうもの）と蹴鞠（けまり）、7枚目は8月で富士山麓の巻狩りと十五夜の満月、8枚目は12月で雪遊びなどが描かれています。
それぞれの場面に描かれる人々の生き生きとした姿をお楽しみください。
Scenes of festivals, customs, and beautiful landscapes throughout the twelve months of the year were common features of Yamato-e, or classic paintings of distinctively Japanese themes, a genre popularized from the mid-Heian period, from the late 9th century to the 10th century. It became prevalent alongside Japanese waka poetry, and the paintings often featured themed poems for each month. Some works also depicted seasonal landscapes at famous locations. These included utamakura, or places commonly used in poetry to cultivate allusions or moods.
This work follows in these traditions, though it was painted in the 16th century, during the Muromachi period. It depicts the manners and customs of each social stratum, from the nobility and the warrior class down to the general public.
From right to left, the screen to your right depicts a New Year scene under the old lunar calendar, with people playing Japanese-style badminton or a ball game on horseback. The second panel portrays cherry blossom viewing in the third month, while the third and fourth panels feature scenes of rice planting in the fifth month. Panel five also depicts scenes associated with the fifth month in which people are horseracing or changing clothes for the new season. It is unclear which month panel six depicts, but it shows inu-ou-mono, a contest where mounted archers try to hit dogs with arrows, and kemari, a type of football. Panel seven brings us to the eighth month, where a party is hunting under a full moon at the base of Mount Fuji. In panel eight, meanwhile, people are playing in the snow in the twelfth month.
Each panel offers up vivid scenes of people living life to the full throughout the year.
公家や武家、そして庶民にいたる様々な階層の風俗を描く。右端には旧暦正月の羽根つきや毬打＊だきゅう＊、二番目の画面には三月の花見、左端には十二月の雪遊びなどが見える。季節や月ごとの行事を描く、伝統的なやまと絵画題である月次絵＊つきなみえ＊の形式を継承したもの。
日本の伝統的な大和絵の画題のひとつに、1年12ヵ月の行事や風俗、自然の美しい景観などを月の順に並べて描く「月次絵」（つきなみえ）があります。平安時代中期（9世紀末～10世紀）以降に、和歌と結びついて流行したもので、画面にはそれぞれの月の情景を詠みこんだ和歌が書かれていることも多く、歌枕（うたまくら）などで知られた諸国の名所が、それにふさわしい月の風景として描かれる名所絵風のものもありました。
この作品は、その「月次絵」の形式を継承して、室町時代・16世紀に描かれたものです。公家や武家、そして庶民にいたるまで、様々な階層の人々の風俗が描かれています。
向かって右から、旧暦正月の羽根つきと打毬（だきゅう）、2枚目のパネルは3月の花見を、3枚目と4枚目は5月の田植えの風景を連続して描いています。以下、5枚目は5月で競馬（くらべうま）と衣更（ころもがえ）、6枚目は月が不明ですが犬追物（いぬおうもの）と蹴鞠（けまり）、7枚目は8月で富士山麓の巻狩りと十五夜の満月、8枚目は12月で雪遊びなどが描かれています。
それぞれの場面に描かれる人々の生き生きとした姿をお楽しみください。
Scenes of festivals, customs, and beautiful landscapes throughout the twelve months of the year were common features of Yamato-e, or classic paintings of distinctively Japanese themes, a genre popularized from the mid-Heian period, from the late 9th century to the 10th century. It became prevalent alongside Japanese waka poetry, and the paintings often featured themed poems for each month. Some works also depicted seasonal landscapes at famous locations. These included utamakura, or places commonly used in poetry to cultivate allusions or moods.
This work follows in these traditions, though it was painted in the 16th century, during the Muromachi period. It depicts the manners and customs of each social stratum, from the nobility and the warrior class down to the general public.
From right to left, the screen to your right depicts a New Year scene under the old lunar calendar, with people playing Japanese-style badminton or a ball game on horseback. The second panel portrays cherry blossom viewing in the third month, while the third and fourth panels feature scenes of rice planting in the fifth month. Panel five also depicts scenes associated with the fifth month in which people are horseracing or changing clothes for the new season. It is unclear which month panel six depicts, but it shows inu-ou-mono, a contest where mounted archers try to hit dogs with arrows, and kemari, a type of football. Panel seven brings us to the eighth month, where a party is hunting under a full moon at the base of Mount Fuji. In panel eight, meanwhile, people are playing in the snow in the twelfth month.
Each panel offers up vivid scenes of people living life to the full throughout the year.
愛らしい子犬をかたどった香炉。頭と胴で分かれ、口と両耳の孔が内部に通じている。三川内焼は現在の長崎県佐世保市三川内町で焼かれた磁器をいい、平戸焼ともよばれる。純白の天草石を用い、彫塑的な細工の技に見どころがある。
Created in Mikawachi (Sasebo City, Nagasaki Prefecture), this incense burner portrays an adorable puppy.（20180102_ｈ21・22特集初もうで）
愛らしい子犬をかたどった香炉。頭と胴で分かれ、口と両耳の孔が内部に通じている。三川内焼は現在の長崎県佐世保市三川内町で焼かれた磁器をいい、平戸焼ともよばれる。純白の天草石を用い、彫塑的な細工の技に見どころがある。
Created in Mikawachi (Sasebo City, Nagasaki Prefecture), this incense burner portrays an adorable puppy.（20180102_ｈ21・22特集初もうで）
落款・印章はなく、筆者を明らかにしえないものの、図上に賦された五山文筆僧瑞渓周鳳（ずいけいしゅうほう）の「八十三翁」の款記から、文明5年（1473）以前の制作と知られる。
図は雪のうっすらとかかった山茶花の木と、それにとまる1羽の小禽を描くもので、周鳳はこの山茶花に冬を、そして小禽の動きに春の到来を感じとっている。山茶花図の伝統はかなり古く、中国では遅くとも北宋時代には描かれており、わが国でも南北朝時代頃には既に制作されていたことが文献にみえる。おそらく本図は、わが国に舶載された中国院体花鳥図を手本としたと推察されるが、こうした著色花鳥画の遺例としてはもっとも早い時期のものである。
Although the painter's seal is missing on this scroll, the inscription by the literati priest Zuikei Shuhu indicates that it was painted before 1473. The sasanqua tree, which is slightly covered with snow, represents winter, and the little bird on the branch represents the approaching spring. Sasanqua painting has a long history. In China, at the latest, it started in the Northern Song Dynasty, and in Japan, according to old documents, sasanqua was a painting subject visible in the Namboku-cho Period. This piece was supposedly modeled after some flower-and-bird painting of the court style imported from China.
","contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["室町時代・15世紀","Muromachi ・15th"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"5596","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2360","cobas-2-s":"A甲360","cobas-3-s":"重要文化財","cobas-4-s":"絵画","cobas-5-s":"山茶花小禽図","cobas-6-s":"サザンカショウキンズ","cobas-7-s":"1幅","cobas-9-s":"日本","cobas-11-s":"室町時代・15世紀","cobas-13-s":"縦86.5cm:横31.7cm","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"落款・印章はなく、筆者を明らかにしえないものの、図上に賦された五山文筆僧瑞渓周鳳（ずいけいしゅうほう）の「八十三翁」の款記から、文明5年（1473）以前の制作と知られる。
図は雪のうっすらとかかった山茶花の木と、それにとまる1羽の小禽を描くもので、周鳳はこの山茶花に冬を、そして小禽の動きに春の到来を感じとっている。山茶花図の伝統はかなり古く、中国では遅くとも北宋時代には描かれており、わが国でも南北朝時代頃には既に制作されていたことが文献にみえる。おそらく本図は、わが国に舶載された中国院体花鳥図を手本としたと推察されるが、こうした著色花鳥画の遺例としてはもっとも早い時期のものである。
Although the painter's seal is missing on this scroll, the inscription by the literati priest Zuikei Shuhu indicates that it was painted before 1473. The sasanqua tree, which is slightly covered with snow, represents winter, and the little bird on the branch represents the approaching spring. Sasanqua painting has a long history. In China, at the latest, it started in the Northern Song Dynasty, and in Japan, according to old documents, sasanqua was a painting subject visible in the Namboku-cho Period. This piece was supposedly modeled after some flower-and-bird painting of the court style imported from China.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Medieval ink paintings"},{"id":"cobas-57856","common":{"id":"cobas-57856","title":"和漢朗詠集断簡（法輪寺切）","titleEn":"Part of Collection of Japanese and Chinese Poems to Sing (One of the “Hōrinji-Temple Fragments”)","titleYomi":"わかんろうえいしゅうだんかん ほうりんじぎれ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-3105","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-3105/image/slideshow_s/B-3105_E0085113.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/B-3105/image/slideshow_s/B-3105_E0085113.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"もとは巻子本の『和漢朗詠集』で、下巻のみ断簡として伝存します。雲母砂子＠きらすなご＠が撒＠ま＠かれた薄藍色の料紙が用いられています。「高野切＠こうやぎれ＠古今集（第三種）」と同筆ですが、藤原行成筆と伝称されてきました。筆力に富み、筆先のきいた迷いのない流麗な筆致から、その能書ぶりがうかがえます。
","descriptionEn":"This segment was originally part of a handscroll containing a transcription of the second volume of a renowned poetry anthology. The nimble, cursive calligraphy was brushed with vigor, making this an exemplary piece by Fujiwara no Kōzei (972–1027). The paper was dyed with indigo and decorated with mica powder.
","contributor":["伝藤原行成筆","Attributed to Fujiwara no Kōzei (972–1027)","東京国立博物館","Tokyo National Museum"],"temporal":["平安時代・11世紀","Heian period, 11th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"728"},"rdfindex":{"type":["書跡"],"temporal":["平安時代"]},"cobas-0-s":"57856","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-3105","cobas-2-s":"B-3105","cobas-4-s":"書跡","cobas-5-s":"和漢朗詠集断簡（法輪寺切）","cobas-6-s":"わかんろうえいしゅうだんかん ほうりんじぎれ","cobas-7-s":"1幅","cobas-8-s":"伝藤原行成筆","cobas-11-s":"平安時代・11世紀","cobas-12-s":"彩箋墨書","cobas-16-s":"東京国立博物館","cobas-17-h":"もとは巻子本の『和漢朗詠集』で、下巻のみ断簡として伝存します。雲母砂子＠きらすなご＠が撒＠ま＠かれた薄藍色の料紙が用いられています。「高野切＠こうやぎれ＠古今集（第三種）」と同筆ですが、藤原行成筆と伝称されてきました。筆力に富み、筆先のきいた迷いのない流麗な筆致から、その能書ぶりがうかがえます。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-3105/image/slideshow_s/B-3105_E0085113.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"33825","cobas-22-s":"57856","cobas-31-s":"Calligraphy","cobas-32-s":"Part of Collection of Japanese and Chinese Poems to Sing (One of the “Hōrinji-Temple Fragments”)","cobas-34-s":"Attributed to Fujiwara no Kōzei (972–1027)","cobas-37-s":"Heian period, 11th century","cobas-38-s":"Ink on decorated paper","cobas-42-s":"Tokyo National Museum","cobas-43-h":"This segment was originally part of a handscroll containing a transcription of the second volume of a renowned poetry anthology. The nimble, cursive calligraphy was brushed with vigor, making this an exemplary piece by Fujiwara no Kōzei (972–1027). The paper was dyed with indigo and decorated with mica powder.
"}],"hit":1664964,"from":0,"facets":[{"key":"rights","counts":{"edu":1664964,"noncom":1664964,"com":1664964,"pdm":900500,"ccby":381664,"ccbysa":360143,"cc0":22657}},{"key":"contents","counts":{"internet":1374933,"not_exist":108935,"iiif":750479,"image":647684,"text":283899,"pdf":29767,"sound":6137,"video":1031,"thumb":1140128,"description":140852}},{"key":"type","counts":{"book":314636,"ancdoc":208827,"docs":186385,"media":101124,"other":68391,"archeology":54673,"poetry":34346,"paint":27267,"offdoc":21232,"metal":18304,"photo":21871,"dataset":17092,"ceramic":7542,"postcard":6300,"daw":5749,"lacquer":5300,"weaponry":3679,"arts":3570,"map":3163,"sculpture":2507,"periodical":1933,"craft":707,"natural":464,"video":275,"poster":265,"article":77,"architecture":58,"mscore":4}},{"key":"db","counts":{"dignl":564662,"cobas":152171,"arc_books":104395,"tpada_kenmei":73578,"tokyo":65671,"nij19":59707,"adeac":58713,"nij15":50753,"nij18":49599,"nij03":45408,"nij02":43173,"nij04":34346,"fukui":29243,"nier_mode":26926,"nin04":26182,"a12345":18159,"aozora":17311,"nda01":16988,"tokyomuseumcolection":16807,"nij21":16798,"kyudai":16084,"aokenshida_txt":15399,"kaizuArchive":12581,"aokenshida_doc":8092,"osaka":7894,"aokenshida_pic":7410,"ibaraki_u":7284,"ukobe_s":7207,"ishikawa":7143,"ukansai":6291,"nij06":6193,"hiroshima_u_7540":5974,"jomon_archives":5607,"musee_gsj":5556,"gakugei_archive":5544,"keioobjecthub":5035,"cb1":3580,"kyoto":3296,"Koubun_das":2749,"irc01":2687,"oitadigital_sages":2581,"sdcommons_npl":2515,"bunka":2481,"tfam_art_db":2092,"irc03":1987,"meiji_u":1987,"sdcommons_npmh":1896,"minzoku":1892,"irc05":1877,"mmc_mingu":1816,"apmoa_mapps":1678,"sf004":1650,"ojiya_dna":1572,"kochizu_collection":1525,"hdm":1487,"nier_postw":1476,"gunma":1459,"tdc_muse":1438,"hischigasakicity":1434,"oitacityarchive":1403,"uryukyu":1248,"kamakura":1176,"aokenshida_mat":1174,"jiyugakuen":1147,"irc06":1061,"torohaku_shuuzouhin":934,"oitadigital_library":873,"sekigahara_archive":805,"saitama_digi_lib":722,"Amagasaki_Digital":659,"aomori":640,"library":610,"HMCA":568,"Chigamu":515,"jiyugakuen_np":480,"niigata_banbi_db":418,"nin02":350,"SCMHshizureki":323,"nin03":300,"moachigasakicity":243,"nakamura":219,"jin":199,"rih05":191,"nier_rare":168,"kyusan":167,"shudo":167,"terashima":166,"kinpaku":124,"yamagata":116,"suisan":114,"sanriku_da":113,"Arakawa_Furusato":107,"nier_orai":107,"sf001":77,"irc02":76,"moco_od":59,"moco_cs":53,"chikuonki":24,"nij08":11,"shinise":11,"SHUGYOKU2":2,"sdcommons_video":2,"utatsu_kogei":2,"nij22":1}},{"key":"cm","counts":{"book":969800,"humanities":559716,"cultural":247691,"art":179840,"regional":164920,"dataset":18159,"map":15487,"official":7137,"science":7036}},{"key":"tempo","counts":{"showa":285225,"meiji":191942,"edo":159264,"taisyo":85451,"heisei":27900,"ancient":18794,"heian":9334,"muromachi":6630,"kamakura":6341,"nara":4286,"asuka":4171,"reiwa":4063,"aduchi":3859}}]}