動物の皮革を木製の型（かた）に押し当てて箱のかたちに成形し、麻布を張って漆を塗り重ねて仕上げる漆皮の技法で作られた被蓋造（かぶせぶたづくり）の箱です。蓋・身ともに縁には補強のための紐（ひも）をめぐらし、角（かど）は大きく削（そ）ぎ面を取っています。正倉院宝物に類似する品があり、奈良時代の製作と考えられます。漆皮は軽量で堅牢なため奈良時代に盛んに用いられましたが、変形しやすいため、平安時代以降は次第に衰退していきました。本品は文様（もんよう）等も見られない簡素な箱ですが、類例の限られる漆皮の遺例として大変貴重です。
","descriptionEn":"The lid for this box is larger than the base and fits completely over it. The box was formed by pressing leather against a wooden mold. Then, the leather was covered with linen and finished with layers of lacquer. Lacquered leather was popular during the Nara period, though production declined in the Heian period because this material was easily deformed.
","id":"cobas-117739","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/N-91","ownerOrg":"nich","provider":"tnm","temporal":["奈良時代・8世紀","Nara period, 8th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/N-91/image/slideshow_s/N-91_C0012293.jpg"],"title":"漆皮箱","titleEn":"Lacquered Leather Box","titleYomi":"しっぴばこ"},"id":"cobas-117739","rdfindex":{"temporal":["奈良時代"],"type":["芸術・美術"]},"cobas-0-s":"117739","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/N-91","cobas-2-s":"N-91","cobas-3-s":"重要文化財","cobas-4-s":"法隆寺宝物","cobas-5-s":"漆皮箱","cobas-6-s":"しっぴばこ","cobas-7-s":"1合","cobas-11-s":"奈良時代・8世紀","cobas-12-s":"皮製漆塗","cobas-13-s":"（蓋）縦33.6 横28.1 高6.5 （身）縦32.3 横26.5 高7.4","cobas-16-s":"東京国立博物館","cobas-17-h":"動物の皮革を木製の型（かた）に押し当てて箱のかたちに成形し、麻布を張って漆を塗り重ねて仕上げる漆皮の技法で作られた被蓋造（かぶせぶたづくり）の箱です。蓋・身ともに縁には補強のための紐（ひも）をめぐらし、角（かど）は大きく削（そ）ぎ面を取っています。正倉院宝物に類似する品があり、奈良時代の製作と考えられます。漆皮は軽量で堅牢なため奈良時代に盛んに用いられましたが、変形しやすいため、平安時代以降は次第に衰退していきました。本品は文様（もんよう）等も見られない簡素な箱ですが、類例の限られる漆皮の遺例として大変貴重です。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/N-91/image/slideshow_s/N-91_C0012293.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"103085","cobas-22-s":"117739","cobas-30-s":"Important Cultural Property","cobas-31-s":"Collection of Hōryūji Treasures","cobas-32-s":"Lacquered Leather Box","cobas-37-s":"Nara period, 8th century","cobas-38-s":"Lacquered hide","cobas-42-s":"Tokyo National Museum","cobas-43-h":"The lid for this box is larger than the base and fits completely over it. The box was formed by pressing leather against a wooden mold. Then, the leather was covered with linen and finished with layers of lacquer. Lacquered leather was popular during the Nara period, though production declined in the Heian period because this material was easily deformed.
"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://jomon-japan.jp/assets/main/A016c000003-main.png"],"coordinates":{"lat":40.808837890625,"lon":140.38018798828125},"database":"jomon_archives","dclass":"210","description":"漆液を漉す際に用いた布。","id":"jomon_archives-A016c000003","lastUpdatedDate":1662044400000,"linkUrl":"https://jomon-japan.jp/archives#/asset/442","location":["青森県つがる市","亀ヶ岡石器時代遺跡 漆漉し布"],"ownerOrg":"jomon_japan","provider":"青森県立郷土館","providerUrl":"https://www.kyodokan.com/","subCategory":["考古学","遺跡","縄文","世界遺産"],"temporal":["縄文時代晩期"],"thumbnailUrl":["https://jomon-japan.jp/assets/thumbnail/A016c000003-thumbnail.png"],"title":"亀ヶ岡石器時代遺跡 漆漉し布","titleEn":"Kamegaoka Burial Site: Cloth for filtering lacquer","titleYomi":"かめがおかせっきじだいいせき うるしこしぬの"},"id":"jomon_archives-A016c000003","rdfindex":{"spatial":["日本 > 青森県"],"temporal":["縄文時代"],"type":["考古"]},"jomon_archives-0-s":"A016c000003","jomon_archives-1-s":"亀ヶ岡石器時代遺跡 漆漉し布","jomon_archives-2-s":"Kamegaoka Burial Site: Cloth for filtering lacquer","jomon_archives-3-s":"かめがおかせっきじだいいせき うるしこしぬの","jomon_archives-4-s":"2022/09/02 05:58","jomon_archives-5-u":"https://jomon-japan.jp/archives#/asset/442","jomon_archives-6-u":"https://jomon-japan.jp/assets/thumbnail/A016c000003-thumbnail.png","jomon_archives-7-u":"https://jomon-japan.jp/assets/main/A016c000003-main.png","jomon_archives-8-c":"image","jomon_archives-9-c":"ccby","jomon_archives-10-c":"internet","jomon_archives-11-s":"漆液を漉す際に用いた布。","jomon_archives-13-s":"青森県つがる市","jomon_archives-14-s":"亀ヶ岡石器時代遺跡 漆漉し布","jomon_archives-15-s":"縄文時代晩期","jomon_archives-18-s":"青森県立郷土館","jomon_archives-19-u":"https://www.kyodokan.com/"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-10569-489/image/slideshow_s/A-10569-489_E0187808.jpg"],"contributor":["東洲斎写楽筆","By Toshusai Sharaku (dates unknown)","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"726","description":"写楽の第2期寛政６年８月河原崎座で上演の『二本松陸奥生長』に取材した作品。三代目大谷鬼次が殺人を犯した直後の川島治部五郎を演じている場面。背景の鼠色が、夜の闇を示している。鬼次は写楽が描いた第1期の大首絵「江戸兵衛」で知られるニヒルな敵役。(20171031_h102)
鼠色の無地の背景に、背後の音に耳を傾けているような抜け目ない表情で、白い頬かむりをした立ち姿の男が描かれています。着物には「鬼」の字。これは、謎の浮世絵師と言われる東洲斎写楽 （とうしゅうさいしゃらく）が歌舞伎役者三代目大谷鬼次（おおたにおにじ）の全身を描いた絵です。描かれているのは、「二本松陸奥生長（にほんまつみちのくそだち）」という演目に登場する敵役の川島治部五郎（かわしまじぶごろう）。
背景の鼠色は、夜の闇を示しています。あらすじでは、川島治部五郎が富田助太夫（とみたすけだゆう）という人物を闇討ちしたところに、助太夫の子の富田兵太郎（ひょうたろう）が通りかかり、提灯のあかりで治部五郎を照らします。その後富田兵太郎は仇討ちを果たすのですが、この作品と同じ判型で、提灯を掲げ前方をうかがう兵太郎の姿を描いた作品もあります。左に兵太郎、右に治部五郎を並べると、追い追われる二者が暗闇の中で接近遭遇する、緊迫感あふれる場面が完成します。独特な目の表現などによってモデルの個性を強調する、写楽ならではの作品です。
写楽は10ヶ月という短い活動期間の中で４期に分けて作品を出版しています。これは、第2期の、縦長の判型に役者の全身像を描いた一連の作品のうちのひとつです。
The actor Otani Oniji III is shown here as the villain Wakashima Jibugoro, the moment after he committed murder, while the gray background suggests the night setting.
A man stands against a gray background with head covered by a white scarf. He wears an alert expression, as if listening to a sound behind him. His kimono sports the Chinese character for 'oni,' or 'demon.' This is a full-body portrait of the Kabuki actor Otani Oniji III. It was painted by the enigmatic ukiyo-e artist Toshusai Sharaku and it shows Otani Oniji III performing as Kawashima Jibugoro, a villain from a Kabuki play.
The gray backdrop represents night. In the play, Kawashima Jibugoro murders someone under the cover of darkness. Just then, the victim's son, Tomita Hyotaro, walks by and illuminates Jibugoro's face with lantern light. Hyotaro then avenges his father's death. There is another similar print by Sharaku that depicts Hyotaro staring ahead while holding a lantern. When these two pictures are lined up side by side, with Hyotaro on the left and Jibugoro on the right, it forms a tension-packed scene as hunter and hunted draw closer within the darkness. Sharaku has emphasized the subject's individuality through the inimitable expression of the eyes, for example.
写楽の第2期寛政６年８月河原崎座で上演の『二本松陸奥生長』に取材した作品。三代目大谷鬼次が殺人を犯した直後の川島治部五郎を演じている場面。背景の鼠色が、夜の闇を示している。鬼次は写楽が描いた第1期の大首絵「江戸兵衛」で知られるニヒルな敵役。(20171031_h102)
鼠色の無地の背景に、背後の音に耳を傾けているような抜け目ない表情で、白い頬かむりをした立ち姿の男が描かれています。着物には「鬼」の字。これは、謎の浮世絵師と言われる東洲斎写楽 （とうしゅうさいしゃらく）が歌舞伎役者三代目大谷鬼次（おおたにおにじ）の全身を描いた絵です。描かれているのは、「二本松陸奥生長（にほんまつみちのくそだち）」という演目に登場する敵役の川島治部五郎（かわしまじぶごろう）。
背景の鼠色は、夜の闇を示しています。あらすじでは、川島治部五郎が富田助太夫（とみたすけだゆう）という人物を闇討ちしたところに、助太夫の子の富田兵太郎（ひょうたろう）が通りかかり、提灯のあかりで治部五郎を照らします。その後富田兵太郎は仇討ちを果たすのですが、この作品と同じ判型で、提灯を掲げ前方をうかがう兵太郎の姿を描いた作品もあります。左に兵太郎、右に治部五郎を並べると、追い追われる二者が暗闇の中で接近遭遇する、緊迫感あふれる場面が完成します。独特な目の表現などによってモデルの個性を強調する、写楽ならではの作品です。
写楽は10ヶ月という短い活動期間の中で４期に分けて作品を出版しています。これは、第2期の、縦長の判型に役者の全身像を描いた一連の作品のうちのひとつです。
The actor Otani Oniji III is shown here as the villain Wakashima Jibugoro, the moment after he committed murder, while the gray background suggests the night setting.
A man stands against a gray background with head covered by a white scarf. He wears an alert expression, as if listening to a sound behind him. His kimono sports the Chinese character for 'oni,' or 'demon.' This is a full-body portrait of the Kabuki actor Otani Oniji III. It was painted by the enigmatic ukiyo-e artist Toshusai Sharaku and it shows Otani Oniji III performing as Kawashima Jibugoro, a villain from a Kabuki play.
The gray backdrop represents night. In the play, Kawashima Jibugoro murders someone under the cover of darkness. Just then, the victim's son, Tomita Hyotaro, walks by and illuminates Jibugoro's face with lantern light. Hyotaro then avenges his father's death. There is another similar print by Sharaku that depicts Hyotaro staring ahead while holding a lantern. When these two pictures are lined up side by side, with Hyotaro on the left and Jibugoro on the right, it forms a tension-packed scene as hunter and hunted draw closer within the darkness. Sharaku has emphasized the subject's individuality through the inimitable expression of the eyes, for example.
能装束の唐織は、主として女役が表着（うわぎ）として着装する。金、銀を地文様などに織り入れ、多彩な絵緯（えぬき＝文様をあらわす緯糸〈ぬきいと〉）を豊かに浮かして織り入れ、四季とりどりの草花文様を華やかに表現する。
この1領でも金糸をふんだんに用いて、珍らしい構成の石畳を下地文様とし、大振りの桜枝を散らして上文様としている。特にこのように紅の入るものを「紅入り（いろいり）」とよんで若い役々に着け、多量に金糸を用いたものが役の重さをあらわすのである。
Kara-ori Noh Costume is mainly worn by female characters on stage. Usually gold and silver are used in the background pattern of these costumes, over which flowering plants of the seasons are gorgeously woven with colorful patterning wefts. This piece is no exception, and plenty of gold threads are used. The design of stone pavement in an uncommon composition is woven in the background, over which large cherry blossoms are arranged. When the design of Kara-ori includes red, it is called “Iro-iro” (with a color) and is worn by younger characters. Many gold threads indicate that the character who wore this costume played a significant role in the performance.
","id":"cobas-1455","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/I%E7%94%B2432","ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["江戸時代・18世紀","Edo ・18th"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/I%E7%94%B2432/image/slideshow_s/101579_difile2-L.jpg"],"title":"唐織 石畳地桜枝文様","titleEn":"Karaori No Costume with Cherry Branches over Checkered Ground","titleYomi":"カラオリ イシダタミジサクラエダモンヨウ"},"id":"cobas-1455","rdfindex":{"type":["染織"]},"cobas-0-s":"1455","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/I%E7%94%B2432","cobas-2-s":"I甲432","cobas-4-s":"染織","cobas-5-s":"唐織 石畳地桜枝文様","cobas-6-s":"カラオリ イシダタミジサクラエダモンヨウ","cobas-7-s":"1領","cobas-11-s":"江戸時代・18世紀","cobas-13-s":"丈157.3cm:裄69cm","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"能装束の唐織は、主として女役が表着（うわぎ）として着装する。金、銀を地文様などに織り入れ、多彩な絵緯（えぬき＝文様をあらわす緯糸〈ぬきいと〉）を豊かに浮かして織り入れ、四季とりどりの草花文様を華やかに表現する。
この1領でも金糸をふんだんに用いて、珍らしい構成の石畳を下地文様とし、大振りの桜枝を散らして上文様としている。特にこのように紅の入るものを「紅入り（いろいり）」とよんで若い役々に着け、多量に金糸を用いたものが役の重さをあらわすのである。
Kara-ori Noh Costume is mainly worn by female characters on stage. Usually gold and silver are used in the background pattern of these costumes, over which flowering plants of the seasons are gorgeously woven with colorful patterning wefts. This piece is no exception, and plenty of gold threads are used. The design of stone pavement in an uncommon composition is woven in the background, over which large cherry blossoms are arranged. When the design of Kara-ori includes red, it is called “Iro-iro” (with a color) and is worn by younger characters. Many gold threads indicate that the character who wore this costume played a significant role in the performance.
","cobas-46-s":"Applied arts"},{"common":{"access":"PUBLIC","apiType":"ok","category":["regional","cultural"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://ibmuseum.mapps.ne.jp/files/9722/media_files/large/138326.jpg"],"contributor":["南城市教育委員会"],"coordinates":{"lat":38.644718170166016,"lon":141.0713348388672},"database":"nda01","dclass":"386","description":"旧暦4月1日におこなわれる古堅のミーミンメー。昼には弥勒の登場する道ジュネ―がおこなわれ、夜には公民館の舞台で多彩な芸能が披露される。南城市の無形民俗文化財。","id":"nda01-79663","lastUpdatedDate":1784057414259,"linkUrl":"https://nanjo-archive.jp/document/?detail=79663&genre=6","location":["大里エリア-古堅"],"ownerOrg":"okinawa_nanjo","provider":"okinawa_nanjo","subCategory":["沖縄県","南城市"],"temporal":["2010年代"],"thumbnailUrl":["https://ibmuseum.mapps.ne.jp/files/9722/media_files/mid/138326.jpg"],"title":"古堅のミーミンメー（2015年）"},"id":"nda01-79663","nda01-0-s":"79663","nda01-1-s":"古堅のミーミンメー（2015年）","nda01-3-s":"20251205","nda01-5-u":"https://ibmuseum.mapps.ne.jp/files/9722/media_files/mid/138326.jpg","nda01-6-u":"https://ibmuseum.mapps.ne.jp/files/9722/media_files/large/138326.jpg","nda01-7-c":"ccby","nda01-8-s":"internet","nda01-9-c":"image","nda01-10-s":"旧暦4月1日におこなわれる古堅のミーミンメー。昼には弥勒の登場する道ジュネ―がおこなわれ、夜には公民館の舞台で多彩な芸能が披露される。南城市の無形民俗文化財。","nda01-11-s":"南城市教育委員会","nda01-12-s":"2010年代","nda01-13-s":"大里エリア-古堅","nda01-15-u":"https://nanjo-archive.jp/document/?detail=79663&genre=6","nda01-16-s":"民俗/年中行事/芸能"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/H-467/image/slideshow_s/H-467_C0050476.jpg"],"contributor":["東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"752","description":"素地に文様を彫り込み、その上から漆を塗る技法は、日本では中国の彫漆器の模倣を通じて発達しました。本作は彫刻した文様を色分けすることで中国の剔彩【てきさい】（彫彩漆）風に仕上げる一方で、鶴亀に松竹、椿から構成される日本の蓬莱文様を表しています。
","descriptionEn":"Picnicking with elaborately designed food boxes was a favorite pastime of the nobility and samurai. The stackable food boxes here are decorated with a crane and turtle, both traditional symbols of longevity. This design was created by carving the wood and painting it with red-tinted lacquer, a technique inspired by Chinese lacquerware.
素地に文様を彫り込み、その上から漆を塗る技法は、日本では中国の彫漆器の模倣を通じて発達しました。本作は彫刻した文様を色分けすることで中国の剔彩【てきさい】（彫彩漆）風に仕上げる一方で、鶴亀に松竹、椿から構成される日本の蓬莱文様を表しています。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/H-467/image/slideshow_s/H-467_C0050476.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"61104","cobas-22-s":"81400","cobas-31-s":"Lacquerware","cobas-32-s":"Stackable Food Boxes with a Crane, Turtle, and Camellias","cobas-37-s":"Muromachi period, 16th century","cobas-38-s":"Carved and lacquered wood","cobas-42-s":"Tokyo National Museum","cobas-43-h":"Picnicking with elaborately designed food boxes was a favorite pastime of the nobility and samurai. The stackable food boxes here are decorated with a crane and turtle, both traditional symbols of longevity. This design was created by carving the wood and painting it with red-tinted lacquer, a technique inspired by Chinese lacquerware.
阿古陀形の名称は、兜鉢が南方渡来の阿古陀瓜＠うり＠に似ていることに由来します。室町時代後期の西日本では、兜鉢の間数＠けんすう＠が少なく簡素な仕立ての阿古陀形筋兜が実戦で多用されました。本品はその典型作で、奈良甲冑師の春田＠はるた＠派の作とみられます。奈良・法隆寺西円堂＠さいえんどう＠の伝来品です。
","id":"cobas-117784","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/N-138","ownerOrg":"nich","provider":"tnm","temporal":["室町時代・16世紀","Muromachi period, 16th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/N-138/image/slideshow_s/N-138_C0045150.jpg"],"title":"阿古陀形十六間筋兜","titleEn":"Ridged Helmet (Sujikabuto) with Sixteen Plates in the Shape of a Pumpkin","titleYomi":"あこだなりじゅうろっけんのすじかぶと"},"id":"cobas-117784","rdfindex":{"temporal":["室町時代"],"type":["芸術・美術"]},"cobas-0-s":"117784","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/N-138","cobas-2-s":"N-138","cobas-4-s":"法隆寺宝物","cobas-5-s":"阿古陀形十六間筋兜","cobas-6-s":"あこだなりじゅうろっけんのすじかぶと","cobas-7-s":"1頭","cobas-11-s":"室町時代・16世紀","cobas-12-s":"鉄製 鉢","cobas-13-s":"高11.3 前後径23.2 左右径20.7","cobas-16-s":"東京国立博物館","cobas-17-h":"阿古陀形の名称は、兜鉢が南方渡来の阿古陀瓜＠うり＠に似ていることに由来します。室町時代後期の西日本では、兜鉢の間数＠けんすう＠が少なく簡素な仕立ての阿古陀形筋兜が実戦で多用されました。本品はその典型作で、奈良甲冑師の春田＠はるた＠派の作とみられます。奈良・法隆寺西円堂＠さいえんどう＠の伝来品です。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/N-138/image/slideshow_s/N-138_C0045150.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"103134","cobas-22-s":"117784","cobas-31-s":"Collection of Hōryūji Treasures","cobas-32-s":"Ridged Helmet (Sujikabuto) with Sixteen Plates in the Shape of a Pumpkin","cobas-37-s":"Muromachi period, 16th century","cobas-38-s":"Iron, Bowl","cobas-42-s":"Tokyo National Museum"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/00859.jpg.webp"],"database":"tfam_art_db","dclass":"289","description":"胴丸は長側（胴下半部の四段）の小札板を胴に廻らして右脇で引き合わせ、草摺は原則八間に細分する。胴だけの歩兵の甲（よろい）として出発したが、室町時代には兜・大袖を具して武将間にも普及した。本品はそうした三つ物が揃った胴丸を模し、小具足を加えたものである。ただし、本来の杏葉（ぎょうよう）に代えて大鎧の栴檀（せんだん）・鳩尾板（きゅうびのいた）を下げ、全て革小札を用いるように、中世の胴丸とは異なるところもある。中世にはみられない黄色がかった茶糸の威毛はいくつかの呼称があるが、威毛として『曹渓院行状記』などに記す黄唐茶糸威とした。金物は透彫鍍金の梅樹文、絵韋は藻獅子文韋で統一する。兜は雄大な鍬形を立てた鉄錆地二十間二方白の星兜、鉢裏に『孟子』の一節、（勇士）「不忘喪其元」を朱書し、吹返に家紋と思われる「庵に木瓜」紋の金銅金物を据えている。小具足は目の下頬当と喉輪を併用し、三枚筒籠手、伊予佩盾、三枚筒臑当を具す。","id":"tfam_art_db-859","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/00859/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["江戸時代中期（18世紀）","Mid Edo Period (18th c.)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00859.jpg.webp"],"title":"黄唐茶糸威胴丸 兜・大袖・小具足付","titleEn":"Suit of Armor in Brown and Gold Laced Domaru Style","titleYomi":"きがらちゃいとおどしどうまる かぶと・おおそで・こぐそくつき"},"id":"tfam_art_db-859","rdfindex":{"temporal":["江戸時代"],"type":["武器"]},"tfam_art_db-0-s":"859","tfam_art_db-10-s":"黄唐茶糸威胴丸 兜・大袖・小具足付","tfam_art_db-11-s":"Suit of Armor in Brown and Gold Laced Domaru Style","tfam_art_db-12-s":"きがらちゃいとおどしどうまる かぶと・おおそで・こぐそくつき","tfam_art_db-13-s":"1","tfam_art_db-14-s":"江戸時代中期（18世紀）","tfam_art_db-15-s":"Mid Edo Period (18th c.)","tfam_art_db-16-s":"鉄、革、絹、漆、銅","tfam_art_db-17-s":"Iron, leather, silk, lacquer, copper","tfam_art_db-20-s":"胴丸は長側（胴下半部の四段）の小札板を胴に廻らして右脇で引き合わせ、草摺は原則八間に細分する。胴だけの歩兵の甲（よろい）として出発したが、室町時代には兜・大袖を具して武将間にも普及した。本品はそうした三つ物が揃った胴丸を模し、小具足を加えたものである。ただし、本来の杏葉（ぎょうよう）に代えて大鎧の栴檀（せんだん）・鳩尾板（きゅうびのいた）を下げ、全て革小札を用いるように、中世の胴丸とは異なるところもある。中世にはみられない黄色がかった茶糸の威毛はいくつかの呼称があるが、威毛として『曹渓院行状記』などに記す黄唐茶糸威とした。金物は透彫鍍金の梅樹文、絵韋は藻獅子文韋で統一する。兜は雄大な鍬形を立てた鉄錆地二十間二方白の星兜、鉢裏に『孟子』の一節、（勇士）「不忘喪其元」を朱書し、吹返に家紋と思われる「庵に木瓜」紋の金銅金物を据えている。小具足は目の下頬当と喉輪を併用し、三枚筒籠手、伊予佩盾、三枚筒臑当を具す。","tfam_art_db-22-s":"武具","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/00859/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/00859.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/00859.jpg.webp"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/TA-304/image/slideshow_s/TA-304_E0197553.jpg"],"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"],"coordinates":{"lat":38.89458084106445,"lon":141.65843200683594},"database":"cobas","dclass":"914","description":" 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。
徐渭は山陰★さんいん★(浙江省)の人。仕官に挫折し、精神を病んで妻を殺し投獄されました。釈放後の本作は、酒と蟹をたずさえた友人の訪問を受け、ほろ酔い気分で描き贈ったもの。画家の思いのままに自由自在に広がる墨の美しさは、個性の表出を重んじる明末画壇の先駆けとも位置づけられます。
","descriptionEn":"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.
Xu Wei (1521–1593) was admired for his distinctive free-form ink style. He painted this work after being released from jail for murdering his wife during a period of mental instability following his failed official career.
","id":"cobas-142031","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/TA-304","location":["中国","China"],"ownerOrg":"nich","provider":"tnm","temporal":["明時代・万暦3年(1575)","Ming dynasty, 1575"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/TA-304/image/slideshow_s/TA-304_E0197553.jpg"],"title":"花卉雑画図巻","titleEn":"Miscellaneous Flowers and Plants","titleYomi":"かきざつがずかん"},"id":"cobas-142031","rdfindex":{"spatial":["海外 > アジア > 中国"],"temporal":["中国・明時代"],"type":["絵画"]},"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）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。
徐渭は山陰★さんいん★(浙江省)の人。仕官に挫折し、精神を病んで妻を殺し投獄されました。釈放後の本作は、酒と蟹をたずさえた友人の訪問を受け、ほろ酔い気分で描き贈ったもの。画家の思いのままに自由自在に広がる墨の美しさは、個性の表出を重んじる明末画壇の先駆けとも位置づけられます。
","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 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.
Xu Wei (1521–1593) was admired for his distinctive free-form ink style. He painted this work after being released from jail for murdering his wife during a period of mental instability following his failed official career.
"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","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"],"contributor":["広州官窯","Gwangju official kiln"],"database":"moco_od","dclass":"751","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)","id":"moco_od-2027","lastUpdatedDate":1719846000000,"linkUrl":"https://jmapps.ne.jp/mocoor_o/det.html?data_id=2027","ownerOrg":"ZENBI","provider":"moco_toyotoji","subCategory":["陶磁器","東洋","中国陶磁","韓国陶磁","日本陶磁"],"temporal":["朝鮮時代","16世紀","Joseon dynasty","16th century"],"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"],"title":"青花 鯉文 扁壺 ","titleEn":"FLASK","titleYomi":"せいか こいもん へんこ"},"id":"moco_od-2027","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"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/H%E7%94%B2104/image/slideshow_s/37854_difile3-L.jpg"],"contributor":["京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"database":"cobas","dclass":"702","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., <i>seigan</i>) is decorated with camellias, birds, and grapevine arabesques in <i>makie</i> 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.
","id":"cobas-2010","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/H%E7%94%B2104","ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["桃山時代・16世紀","Momoyama ・16th"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/H%E7%94%B2104/image/slideshow_s/37854_difile3-L.jpg"],"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"},"id":"cobas-2010","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"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","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"],"contributor":["景徳鎮窯","Jingdezhen ware"],"database":"moco_cs","dclass":"751","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","id":"moco_cs-91","lastUpdatedDate":1717081200000,"linkUrl":"https://jmapps.ne.jp/mocoor/det.html?data_id=91","ownerOrg":"ZENBI","provider":"moco_toyotoji","subCategory":["陶磁器","東洋","中国陶磁","韓国陶磁","日本陶磁"],"temporal":["元時代","14世紀","Yuan dynasty","14th century"],"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"],"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"},"id":"moco_cs-91","rdfindex":{"spatial":["海外 > アジア > 中国"],"temporal":["1301～1400年"],"type":["陶磁"]},"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"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/TG-2227/image/slideshow_s/TG-2227_E0090762.jpg"],"contributor":["東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"751","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。
【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。
丸々とした二尾の鯉には堂々とした存在感がある。高台内隅に｢亀山製｣の銘が染付で記されている。亀山焼は現在の長崎市伊良林（いらばやし）に開かれ、天草石（あまくさいし）を用いた精美な染付磁器を文化11年(1814)から慶応元年(1865)の閉窯まで焼いた。
Kameyama ware was made in present-day Nagasaki and gained prominence in the 19th century for its blue-and-white porcelain.
丸々とした二尾の鯉には堂々とした存在感がある。高台内隅に｢亀山製｣の銘が染付で記されている。亀山焼は現在の長崎市伊良林（いらばやし）に開かれ、天草石（あまくさいし）を用いた精美な染付磁器を文化11年(1814)から慶応元年(1865)の閉窯まで焼いた。
Kameyama ware was made in present-day Nagasaki and gained prominence in the 19th century for its blue-and-white porcelain.
瓢箪形の水注です。胴をめぐる浮線と把手のところを紐のようにあらわして染付を施し、房も浮彫としています。葡萄は「武道」、栗鼠は「律する」に通じ、武家好みの意匠でもあります。イギリス・オックスフォード大学内のアシュモレアン博物館にも類例が伝わります。
","descriptionEn":"This water pitcher is shaped like a gourd, a fruit with a hard rind that can be dried, hollowed out, and used to store liquids. Its surface is decorated with motifs that were popular among the samurai: Through a play on words, the grapes symbolize martial arts, while squirrels represent discipline. Similar pitchers were also exported to Europe.
瓢箪形の水注です。胴をめぐる浮線と把手のところを紐のようにあらわして染付を施し、房も浮彫としています。葡萄は「武道」、栗鼠は「律する」に通じ、武家好みの意匠でもあります。イギリス・オックスフォード大学内のアシュモレアン博物館にも類例が伝わります。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/G-5027/image/slideshow_s/G-5027_E0194830.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"59965","cobas-22-s":"80547","cobas-31-s":"Ceramics","cobas-32-s":"Gourd-Shaped Water Pitcher with a Squirrel and Grapes","cobas-34-s":"Imari ware, Kakiemon style","cobas-37-s":"Edo period, 17th century","cobas-38-s":"Porcelain with underglaze blue and overglaze enamel","cobas-42-s":"Tokyo National Museum","cobas-43-h":"This water pitcher is shaped like a gourd, a fruit with a hard rind that can be dried, hollowed out, and used to store liquids. Its surface is decorated with motifs that were popular among the samurai: Through a play on words, the grapes symbolize martial arts, while squirrels represent discipline. Similar pitchers were also exported to Europe.
没倫紹等は墨斎（ぼくさい）とも号し、師の一休宗純（いっきゅうそうじゅん）同様、水墨画にも絵筆を振るった。没倫自ら書き付けた賛によると、今年の秋は10日も風雨が続いたが、葡萄棚は傾くことなく多くの実をつけたという。没倫の基準作として、また中世の葡萄図の遺例として貴重である。（20130625_h21･22)
没倫紹等は墨斎（ぼくさい）とも号し、師の一休宗純（いっきゅうそうじゅん）同様、水墨画にも絵筆を振るった。没倫自ら書き付けた賛によると、今年の秋は10日も風雨が続いたが、葡萄棚は傾くことなく多くの実をつけたという。没倫の基準作として、また中世の葡萄図の遺例として貴重である。（20130625_h21･22)
朝鮮時代後期に広州分院里窯で焼かれた青花磁器は白磁の素地が硬質になり、濃く鮮明な発色のコバルトで細密な文様が描かれるようになります。鯰や魚が鳥とともに宙を飛んでいるかのように見える幻想的な空間表現は、朝鮮青花に独特のものです。
This porcelain vase features a striking composition that was painted on before a clear glaze was applied.
","id":"cobas-148468","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/TG-2827","location":["朝鮮","Korea"],"ownerOrg":"nich","provider":"tnm","temporal":["朝鮮時代・19世紀","Joseon dynasty, 19th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/TG-2827/image/slideshow_s/TG-2827_C0086915.jpg"],"title":"瓶","titleEn":"Vase with Catfish","titleYomi":"へい"},"id":"cobas-148468","rdfindex":{"spatial":["海外 > アジア > 朝鮮"],"temporal":["1801～1900年"],"type":["陶磁"]},"cobas-0-s":"148468","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/TG-2827","cobas-2-s":"TG-2827","cobas-4-s":"東洋陶磁","cobas-5-s":"瓶","cobas-6-s":"へい","cobas-7-s":"1口","cobas-9-s":"朝鮮","cobas-11-s":"朝鮮時代・19世紀","cobas-12-s":"磁製","cobas-13-s":"高23.8 口径4.6 高台径11.3","cobas-15-s":"小倉コレクション保存会寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"朝鮮時代後期に広州分院里窯で焼かれた青花磁器は白磁の素地が硬質になり、濃く鮮明な発色のコバルトで細密な文様が描かれるようになります。鯰や魚が鳥とともに宙を飛んでいるかのように見える幻想的な空間表現は、朝鮮青花に独特のものです。
This porcelain vase features a striking composition that was painted on before a clear glaze was applied.
"},{"common":{"access":"PUBLIC","apiType":"ok","category":["art","cultural"],"contentsAccess":"internet","contentsRightsType":"cc0","contentsType":"image","contentsUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/source/07146.jpg.webp"],"contributor":["景徳鎮窯","Jing-de-zhen Ware"],"database":"tfam_art_db","dclass":"751","description":"下膨れの胴部に太い頸部を持つ、玉壺春タイプの瓶に、太く長い注口と扁平な把手が付いた仙盞瓶。口縁部は受口状。頸部には、蕉葉文と宝相華唐草文が配されている。胴部中央の一方の四稜花形の枠内に石榴折枝文、他方の枠内に葡萄折枝文が描かれ、周囲に四季花唐草文が配されている。また、裾部にラマ式蓮弁文、高台に唐草文、注口に蔓唐草文、把手に花卉文が描かれている。注口先端は後補。","id":"tfam_art_db-7146","lastUpdatedDate":1779951982666,"linkUrl":"https://www.fujibi.or.jp/collection/artwork/07146/","ownerOrg":"ZENBI","provider":"fujibi","subCategory":["西洋美術","東洋美術","日本美術"],"temporal":["明前期（15世紀）","Early Ming dynasty (15 C.)"],"thumbnailUrl":["https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07146.jpg.webp"],"title":"青花果樹文仙盞瓶","titleEn":"Ewer with Design of Fruit Tree, Blue and White","titleYomi":"せいかかじゅもんせんさんびん"},"id":"tfam_art_db-7146","rdfindex":{"spatial":["海外 > アジア > 中国"],"temporal":["中国・明時代"],"type":["陶磁"]},"tfam_art_db-0-s":"7146","tfam_art_db-1-s":"景徳鎮窯","tfam_art_db-2-s":"Jing-de-zhen Ware","tfam_art_db-3-s":"けいとくちんよう","tfam_art_db-6-s":"中国","tfam_art_db-8-s":"五代時代から今も続く窯。窯跡は、江西省景徳鎮市一帯に分布。五代時代には、青磁・白磁が作られ、長江以南で発見されている最古の白磁窯。北宋時代には、いわゆる青白磁を完成させる。元時代には白磁が主流となる。元時代後期には青花磁器を生み出し、以後中国を代表する窯業地に発展。明時代には「御器廠」と呼ばれる官窯が置かれ、青花磁器とともに本格的な五彩磁器も作られるようになる。清時代には、粉彩磁器が開発された。なお、明時代後期から清時代前期には、民窯で青花磁器（芙蓉手・古染付・祥瑞）、五彩磁器（天啓赤絵・色絵祥瑞）など多種多様な磁器が生産され、ヨーロッパをはじめ各地に輸出された。","tfam_art_db-10-s":"青花果樹文仙盞瓶","tfam_art_db-11-s":"Ewer with Design of Fruit Tree, Blue and White","tfam_art_db-12-s":"せいかかじゅもんせんさんびん","tfam_art_db-13-s":"1","tfam_art_db-14-s":"明前期（15世紀）","tfam_art_db-15-s":"Early Ming dynasty (15 C.)","tfam_art_db-18-s":"高25.5cm、口径6.3cm、胴径16.5cm、幅22.9cm、底径9.7cm","tfam_art_db-19-s":"H 25.5 cm, Dia. 16.5 cm","tfam_art_db-20-s":"下膨れの胴部に太い頸部を持つ、玉壺春タイプの瓶に、太く長い注口と扁平な把手が付いた仙盞瓶。口縁部は受口状。頸部には、蕉葉文と宝相華唐草文が配されている。胴部中央の一方の四稜花形の枠内に石榴折枝文、他方の枠内に葡萄折枝文が描かれ、周囲に四季花唐草文が配されている。また、裾部にラマ式蓮弁文、高台に唐草文、注口に蔓唐草文、把手に花卉文が描かれている。注口先端は後補。","tfam_art_db-22-s":"陶磁器","tfam_art_db-23-u":"https://www.fujibi.or.jp/collection/artwork/07146/","tfam_art_db-24-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/source/07146.jpg.webp","tfam_art_db-25-u":"https://www.fujibi.or.jp/webp/assets/images/artwork/500x500/07146.jpg.webp"}]}