田能村竹田は、詩書画の全てに才能を発揮できた数少ない本格派の文人です。豊後国（大分県）岡藩藩士のとき、藩政改革を提言するも却下され、隠居して画業に邁進しました。これは没する20日前、息子の到着を待ちわびる心境を詠んだ七言絶句。詩の遺作で書の絶筆とされます。
Tanomura Chikuden was a talented poet, calligrapher, and painter. He wrote this poem while waiting for his son to arrive from his sickbed. Twenty days later, Chikuden passed away.
田能村竹田は、詩書画の全てに才能を発揮できた数少ない本格派の文人です。豊後国（大分県）岡藩藩士のとき、藩政改革を提言するも却下され、隠居して画業に邁進しました。これは没する20日前、息子の到着を待ちわびる心境を詠んだ七言絶句。詩の遺作で書の絶筆とされます。
Tanomura Chikuden was a talented poet, calligrapher, and painter. He wrote this poem while waiting for his son to arrive from his sickbed. Twenty days later, Chikuden passed away.
「野馬図屏風」と同じく屏風講時代の作品と考えられ、通常の絹ではなく絖（ぬめ）が使われている。蕪村画の中でもことにやわらかで清潔な印象をもよおす作品である。なぜか、両隻で寸法が違っているが、絖が足りなくなったのでもあろうか。
","descriptionEn":"Yosa Buson (1716-83) made this pair of folding screens during the so-called byôbukô jidai, the period when Buson was impoverished and his disciples provided financial support enabling him to work on folding screens. As in <i>Wild Horses</i>, another pair of folding screens produced during this period, shiny silk (J., <i>nume</i>) was used instead of regular silk. This work conveys an especially gentle and clean impression. The sizes of the right and left screens do not match for some reason: perhaps Buson did not have enough shiny silk to afford screens of the same size.
","id":"cobas-5582","lastUpdatedDate":1786378287860,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2380","location":["日本"],"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/A%E7%94%B2380/image/slideshow_s/1697_difile3-L.jpg"],"title":"山水図","titleEn":"Landscape","titleYomi":"サンスイズ"},"id":"cobas-5582","rdfindex":{"type":["絵画"]},"cobas-0-s":"5582","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2380","cobas-2-s":"A甲380","cobas-3-s":"重要美術品","cobas-4-s":"絵画","cobas-5-s":"山水図","cobas-6-s":"サンスイズ","cobas-7-s":"6曲1双","cobas-8-s":"与謝蕪村","cobas-9-s":"日本","cobas-11-s":"江戸時代・18世紀","cobas-14-s":"明和元年（1764）の年記がある","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"「野馬図屏風」と同じく屏風講時代の作品と考えられ、通常の絹ではなく絖（ぬめ）が使われている。蕪村画の中でもことにやわらかで清潔な印象をもよおす作品である。なぜか、両隻で寸法が違っているが、絖が足りなくなったのでもあろうか。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2380/image/slideshow_s/1697_difile3-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"829","cobas-22-s":"5582","cobas-29-s":"絵画:日本:近世絵画","cobas-30-s":"Important Art Object","cobas-31-s":"Painting","cobas-32-s":"Landscape","cobas-34-s":"Yosa Buson","cobas-37-s":"Edo ・18th","cobas-42-s":"Kyoto National Museum","cobas-43-h":"Yosa Buson (1716-83) made this pair of folding screens during the so-called byôbukô jidai, the period when Buson was impoverished and his disciples provided financial support enabling him to work on folding screens. As in Wild Horses, another pair of folding screens produced during this period, shiny silk (J., nume) was used instead of regular silk. This work conveys an especially gentle and clean impression. The sizes of the right and left screens do not match for some reason: perhaps Buson did not have enough shiny silk to afford screens of the same size.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2111/image/slideshow_s/147_difile1-L.jpg"],"contributor":["帆足杏雨","Hoashi Kyo'u","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"database":"cobas","dclass":"721","id":"cobas-5885","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2111","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["江戸時代","Edo"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2111/image/slideshow_s/147_difile1-L.jpg"],"title":"初秋山水図","titleEn":"Early Autumn 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paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2510/image/slideshow_s/94306_difile2-L.jpg"],"contributor":["青木木米","京都国立博物館 Kyoto National Museum"],"database":"cobas","dclass":"751","id":"cobas-2357","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2510","ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2510/image/slideshow_s/94306_difile2-L.jpg"],"title":"三島手急須","titleYomi":"ミシマデキュウス"},"id":"cobas-2357","rdfindex":{"type":["陶磁"]},"cobas-0-s":"2357","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2510","cobas-2-s":"G甲510","cobas-4-s":"陶磁","cobas-5-s":"三島手急須","cobas-6-s":"ミシマデキュウス","cobas-7-s":"1個","cobas-8-s":"青木木米","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2510/image/slideshow_s/94306_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"13820","cobas-22-s":"2357","cobas-29-s":"工芸"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/B-2754/image/slideshow_s/B-2754_N0151286.jpg"],"contributor":["田能村竹田筆","By Tanomura Chikuden (1777–1835)","相見香雨氏寄贈","Gift of Mr. Aimi Kou'u","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"728","id":"cobas-57601","lastUpdatedDate":1786378287860,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-2754","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・18～19世紀","Edo period, 18th–19th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-2754/image/slideshow_s/B-2754_N0151286.jpg"],"title":"書巻","titleEn":"Collection of Calligraphy","titleYomi":"しょかん"},"id":"cobas-57601","rdfindex":{"temporal":["江戸時代"],"type":["書跡"]},"cobas-0-s":"57601","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-2754","cobas-2-s":"B-2754","cobas-4-s":"書跡","cobas-5-s":"書巻","cobas-6-s":"しょかん","cobas-7-s":"1巻","cobas-8-s":"田能村竹田筆","cobas-11-s":"江戸時代・18～19世紀","cobas-12-s":"紙本墨書","cobas-15-s":"相見香雨氏寄贈","cobas-16-s":"東京国立博物館","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-2754/image/slideshow_s/B-2754_N0151286.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"33440","cobas-22-s":"57601","cobas-31-s":"Calligraphy","cobas-32-s":"Collection of Calligraphy","cobas-34-s":"By Tanomura Chikuden (1777–1835)","cobas-37-s":"Edo period, 18th–19th century","cobas-38-s":"Ink on paper","cobas-41-s":"Gift of Mr. Aimi Kou'u","cobas-42-s":"Tokyo National Museum"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2904/image/slideshow_s/54061_difile2-L.jpg"],"contributor":["富岡鉄斎","Tomioka Tessai","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"database":"cobas","dclass":"721","id":"cobas-5054","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2904","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2904/image/slideshow_s/54061_difile2-L.jpg"],"title":"筆供養図巻","titleEn":"Fude Kuyo, A Memorial for Paint Brushes","titleYomi":"フデクヨウズカン"},"id":"cobas-5054","rdfindex":{"type":["絵画"]},"cobas-0-s":"5054","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2904","cobas-2-s":"A甲904","cobas-4-s":"絵画","cobas-5-s":"筆供養図巻","cobas-6-s":"フデクヨウズカン","cobas-7-s":"1巻","cobas-8-s":"富岡鉄斎","cobas-9-s":"日本","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2904/image/slideshow_s/54061_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"21606","cobas-22-s":"5054","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Fude Kuyo, A Memorial for Paint Brushes","cobas-34-s":"Tomioka Tessai","cobas-42-s":"Kyoto National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-11114/image/slideshow_s/A-11114_A-11114-L-02.jpg"],"contributor":["与謝蕪村筆","By Yosa Buson (1716–1783)","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"911","description":"三人の旅人は、月の浮かぶ夜明け前の山野を馬に任せるまま進み、四人の老いた高士は、童僕の手を借りながら、清流を越え、急な山道を登る遅々として進まぬ旅をゆくさまが描かれています。中国風の主題を俳趣あふれる描写に置き換えた、蕪村の代表作の一つです。
広々とした野山を行く人びとが描かれた、２枚でセットの屏風です。右の屏風では、まだ月の浮かぶ夜明け前の道のりを、３人の旅人が馬とともに進みます。左の屏風では、４人の老人が、子どもに助けられながら川を渡り、急な山道を登っています。景色や人物は、墨に加えて透明感のある淡い色合いであらわされ、風そよぐ清々しい空気がこちらまで伝わってくるようです。
この作品を描いたのは、18世紀後半に活躍した俳人であり画家の与謝蕪村（よさぶそん）。これは蕪村が50代後半頃の作品です。彼はまず俳諧師（はいかいし）としてスタートし、俳句をともなうシンプルな絵画、俳画（はいが）に個性を発揮しました。活躍の場が絵画の世界になっても蕪村は俳諧の心を失わず、その独特な軽妙さがそのまま彼の絵画の魅力となっています。中国ふうのテーマではありますが、おかたい偉い人という雰囲気ではなく、人物の表情などはユーモラスです。俳人ならではの感性や繊細な詩情が感じられ、細部をしげしげと見るというよりも、絵の前に立ち、ただただこのおおらかな空気感を浴びて楽しむような作品です。
Buson's painting captures the same comical scenery as some of his haiku poems. On the left, four scholars depend on young servants to cross streams and climb mountains. On the right, three travelers rush to the summit by horse before sunrise while the moon is still visible.
This set of two folding screens depicts travelers traversing rolling hills. The right-hand screen shows three men on horseback trotting along a moonlit path as dawn breaks. The left-hand screen features four old gentlemen crossing a stream and ascending a steep mountain with the aid of young servants. The scenery and human figures are portrayed using ink and light translucent colors. The viewer can almost sense the rustle of the wind and the freshness of the air.
Yosa Buson was a poet and painter active in the latter half of the 18th century. He painted this work when he was in his late fifties. Buson started off as a writer of haiku poetry and he later began painting simple pictures to accompany his poems. In doing so, he created haiku pictures infused with a sense of individuality. Despite his success in the painting world, Buson never lost his love for poems and he incorporated the distinct charming lightness of poetry into his painted works. This picture has a Chinese theme, but the characters are portrayed in humorous fashion rather than as formal, eminent figures. The work is filled with poetic sensibilities and a delicate lyricism. Rather than focusing too much on the details, it is perhaps best to stand before it and allow yourself to get swept up in its generous atmosphere.
三人の旅人は、月の浮かぶ夜明け前の山野を馬に任せるまま進み、四人の老いた高士は、童僕の手を借りながら、清流を越え、急な山道を登る遅々として進まぬ旅をゆくさまが描かれています。中国風の主題を俳趣あふれる描写に置き換えた、蕪村の代表作の一つです。
広々とした野山を行く人びとが描かれた、２枚でセットの屏風です。右の屏風では、まだ月の浮かぶ夜明け前の道のりを、３人の旅人が馬とともに進みます。左の屏風では、４人の老人が、子どもに助けられながら川を渡り、急な山道を登っています。景色や人物は、墨に加えて透明感のある淡い色合いであらわされ、風そよぐ清々しい空気がこちらまで伝わってくるようです。
この作品を描いたのは、18世紀後半に活躍した俳人であり画家の与謝蕪村（よさぶそん）。これは蕪村が50代後半頃の作品です。彼はまず俳諧師（はいかいし）としてスタートし、俳句をともなうシンプルな絵画、俳画（はいが）に個性を発揮しました。活躍の場が絵画の世界になっても蕪村は俳諧の心を失わず、その独特な軽妙さがそのまま彼の絵画の魅力となっています。中国ふうのテーマではありますが、おかたい偉い人という雰囲気ではなく、人物の表情などはユーモラスです。俳人ならではの感性や繊細な詩情が感じられ、細部をしげしげと見るというよりも、絵の前に立ち、ただただこのおおらかな空気感を浴びて楽しむような作品です。
Buson's painting captures the same comical scenery as some of his haiku poems. On the left, four scholars depend on young servants to cross streams and climb mountains. On the right, three travelers rush to the summit by horse before sunrise while the moon is still visible.
This set of two folding screens depicts travelers traversing rolling hills. The right-hand screen shows three men on horseback trotting along a moonlit path as dawn breaks. The left-hand screen features four old gentlemen crossing a stream and ascending a steep mountain with the aid of young servants. The scenery and human figures are portrayed using ink and light translucent colors. The viewer can almost sense the rustle of the wind and the freshness of the air.
Yosa Buson was a poet and painter active in the latter half of the 18th century. He painted this work when he was in his late fifties. Buson started off as a writer of haiku poetry and he later began painting simple pictures to accompany his poems. In doing so, he created haiku pictures infused with a sense of individuality. Despite his success in the painting world, Buson never lost his love for poems and he incorporated the distinct charming lightness of poetry into his painted works. This picture has a Chinese theme, but the characters are portrayed in humorous fashion rather than as formal, eminent figures. The work is filled with poetic sensibilities and a delicate lyricism. Rather than focusing too much on the details, it is perhaps best to stand before it and allow yourself to get swept up in its generous atmosphere.
山間から、画面左に向かって湾曲しながら川が流れています。川面に浮かんだ一艘の舟が向かう先には、人物が橋を渡っています。橋の周辺には紅葉が色づき、秋の景色のようです。こんもりと丸みを帯びた山や、さまざまな筆のタッチを細かく使って描かれた木々は、まるでうごめく生き物のようで、わき上がるような生命力を感じさせます。
タイトルにある「兎道（うじ）」とは、お茶の産地として有名な京都の宇治の古い表記です。画面右下、宇治川がカーブするあたりで木々に囲まれているのが平等院です。「朝暾（ちょうとん）」とは、朝日のこと。秋の朝の、澄んだ空気を感じさせるのどかな風景です。
作者の木米の本名は青木八十八（やそはち）。中国の南宗画の影響を受けた南画家・池大雅を慕っていました。そのせいか、画中の人物が中国風に表現されているのも特徴的です。
A river arcs through the mountains and flows to the left, its surface only disturbed by a solitary boat. Further down, a man crosses a bridge. The red-hued leaves around the bridge suggest an autumn scene. The detailed depiction of the trees is achieved using a variety of brush strokes. The trees and the rounded mountains seem to writhe upwards with the vigor of living creatures.
The 'Uji' of the title is a famous tea-growing region in Kyoto. A temple surrounded by trees sits toward the bottom right, close to where Uji River curves around. This is Byodoin Temple, now listed as a World Heritage Site. This tranquil scene is infused with the crisp air of an autumn morning.
Mokubei was a great admirer of Ike no Taiga, a painter influenced by a style of Chinese literati painting called nanshuga. Perhaps this explains the painting's characteristic Chinese-style figures.
山間から、画面左に向かって湾曲しながら川が流れています。川面に浮かんだ一艘の舟が向かう先には、人物が橋を渡っています。橋の周辺には紅葉が色づき、秋の景色のようです。こんもりと丸みを帯びた山や、さまざまな筆のタッチを細かく使って描かれた木々は、まるでうごめく生き物のようで、わき上がるような生命力を感じさせます。
タイトルにある「兎道（うじ）」とは、お茶の産地として有名な京都の宇治の古い表記です。画面右下、宇治川がカーブするあたりで木々に囲まれているのが平等院です。「朝暾（ちょうとん）」とは、朝日のこと。秋の朝の、澄んだ空気を感じさせるのどかな風景です。
作者の木米の本名は青木八十八（やそはち）。中国の南宗画の影響を受けた南画家・池大雅を慕っていました。そのせいか、画中の人物が中国風に表現されているのも特徴的です。
A river arcs through the mountains and flows to the left, its surface only disturbed by a solitary boat. Further down, a man crosses a bridge. The red-hued leaves around the bridge suggest an autumn scene. The detailed depiction of the trees is achieved using a variety of brush strokes. The trees and the rounded mountains seem to writhe upwards with the vigor of living creatures.
The 'Uji' of the title is a famous tea-growing region in Kyoto. A temple surrounded by trees sits toward the bottom right, close to where Uji River curves around. This is Byodoin Temple, now listed as a World Heritage Site. This tranquil scene is infused with the crisp air of an autumn morning.
Mokubei was a great admirer of Ike no Taiga, a painter influenced by a style of Chinese literati painting called nanshuga. Perhaps this explains the painting's characteristic Chinese-style figures.
「三朝」とは、一年の朝、一月の朝、元旦の朝を意味している。図上の自筆の文にもあるように、おそらく晩年に近いある年の詠い初め（うたいぞめ）の俳画である。夢中に現われた翁の姿であるが、一種の自画像と見なすこともできる。
","descriptionEn":"The three mornings refers to the first morning of the year, the first morning of the first month, and the morning of New Year's day. As is indicated in the inscription by Yosa Buson (1716-83) at the top of the scroll, it was the first <i>haiga</i> (poetry painting) made on a New Year's day in his declining years. Although it is said that the elderly man depicted in the scroll is a person who appeared to Buson in a dream, we might also assume that it is a portrait of Buson himself.
","id":"cobas-5645","lastUpdatedDate":1786378287860,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2288","location":["日本"],"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/A%E7%94%B2288/image/slideshow_s/138215_difile3-L.jpg"],"title":"三ッ朝図","titleEn":"The Three Mornings","titleYomi":"ミツアサズ"},"id":"cobas-5645","rdfindex":{"type":["絵画"]},"cobas-0-s":"5645","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2288","cobas-2-s":"A甲288","cobas-4-s":"絵画","cobas-5-s":"三ッ朝図","cobas-6-s":"ミツアサズ","cobas-7-s":"1幅","cobas-8-s":"与謝蕪村","cobas-9-s":"日本","cobas-11-s":"江戸時代・18世紀","cobas-13-s":"縦102.1cm:横28.3cm","cobas-14-s":"「夜半翁」・白文方形 「＊墨生痕」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"「三朝」とは、一年の朝、一月の朝、元旦の朝を意味している。図上の自筆の文にもあるように、おそらく晩年に近いある年の詠い初め（うたいぞめ）の俳画である。夢中に現われた翁の姿であるが、一種の自画像と見なすこともできる。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2288/image/slideshow_s/138215_difile3-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"746","cobas-22-s":"5645","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"The Three Mornings","cobas-34-s":"Yosa Buson","cobas-37-s":"Edo ・18th","cobas-39-s":"Height102.1cm:Width28.3cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"The three mornings refers to the first morning of the year, the first morning of the first month, and the morning of New Year's day. As is indicated in the inscription by Yosa Buson (1716-83) at the top of the scroll, it was the first haiga (poetry painting) made on a New Year's day in his declining years. Although it is said that the elderly man depicted in the scroll is a person who appeared to Buson in a dream, we might also assume that it is a portrait of Buson himself.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/B-2932/image/slideshow_s/B-2932_E0200042.jpg"],"contributor":["浦上玉堂筆","By Urakami Gyokudō (1745–1820)","水島篤子氏寄贈","Gift of Ms. Mizushima Atsuko","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"728","description":"浦上玉堂は、江戸時代後期の文人画家で、唐様の能書としても知られます。頼山陽、木村蒹葭堂＠けんかどう＠、田能村竹田＠たのむらちくでん＠らと交流をもちました。書き慣れた隷書体＠れいしょたい＠に、中国書法への憧れがうかがえます。
","descriptionEn":"Gyokudō (1745–1820) was a painter, literati and accomplished Chinese-style calligrapher. Here, his clerical script clearly demonstrates how he admired calligraphic styles from China. He was friends with Confucian scholars, such as Rai San'yō, Kimura Kenkadō, Tanomura Chikuden, and others.
","id":"cobas-57723","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-2932","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・18～19世紀","Edo period, 18th–19th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-2932/image/slideshow_s/B-2932_E0200042.jpg"],"title":"七言絶句","titleEn":"Poem","titleYomi":"しちごんぜっく"},"id":"cobas-57723","rdfindex":{"temporal":["江戸時代"],"type":["書跡"]},"cobas-0-s":"57723","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-2932","cobas-2-s":"B-2932","cobas-4-s":"書跡","cobas-5-s":"七言絶句","cobas-6-s":"しちごんぜっく","cobas-7-s":"1幅","cobas-8-s":"浦上玉堂筆","cobas-11-s":"江戸時代・18～19世紀","cobas-12-s":"紙本墨書","cobas-13-s":"本紙 縦28.5 横11.2","cobas-15-s":"水島篤子氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"浦上玉堂は、江戸時代後期の文人画家で、唐様の能書としても知られます。頼山陽、木村蒹葭堂＠けんかどう＠、田能村竹田＠たのむらちくでん＠らと交流をもちました。書き慣れた隷書体＠れいしょたい＠に、中国書法への憧れがうかがえます。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-2932/image/slideshow_s/B-2932_E0200042.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"33610","cobas-22-s":"57723","cobas-31-s":"Calligraphy","cobas-32-s":"Poem","cobas-34-s":"By Urakami Gyokudō (1745–1820)","cobas-37-s":"Edo period, 18th–19th century","cobas-38-s":"Ink on paper","cobas-41-s":"Gift of Ms. Mizushima Atsuko","cobas-42-s":"Tokyo National Museum","cobas-43-h":"Gyokudō (1745–1820) was a painter, literati and accomplished Chinese-style calligrapher. Here, his clerical script clearly demonstrates how he admired calligraphic styles from China. He was friends with Confucian scholars, such as Rai San'yō, Kimura Kenkadō, Tanomura Chikuden, and others.
"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2401/image/slideshow_s/22212_difile1-L.jpg"],"contributor":["浦上玉堂","Uragami Gyokudo","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"database":"cobas","dclass":"721","id":"cobas-5562","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2401","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["江戸時代","Edo"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2401/image/slideshow_s/22212_difile1-L.jpg"],"title":"扇面山水図","titleEn":"Landscape on Fan","titleYomi":"センメンサンスイズ"},"id":"cobas-5562","rdfindex":{"type":["絵画"]},"cobas-0-s":"5562","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2401","cobas-2-s":"A甲401","cobas-4-s":"絵画","cobas-5-s":"扇面山水図","cobas-6-s":"センメンサンスイズ","cobas-7-s":"1幅","cobas-8-s":"浦上玉堂","cobas-9-s":"日本","cobas-11-s":"江戸時代","cobas-13-s":"長径53.4cm:短径21.2cm:巾 19.3cm","cobas-14-s":"「玉堂」・白文方形 「＊某＊ 」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2401/image/slideshow_s/22212_difile1-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"849","cobas-22-s":"5562","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Landscape on Fan","cobas-34-s":"Uragami Gyokudo","cobas-37-s":"Edo","cobas-39-s":"Diameter53.4cm:Diameter21.2cm 19.3cm","cobas-42-s":"Kyoto National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2509/image/slideshow_s/94315_difile1-L.jpg"],"contributor":["青木木米","京都国立博物館 Kyoto National Museum"],"database":"cobas","dclass":"751","id":"cobas-2356","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2509","ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2509/image/slideshow_s/94315_difile1-L.jpg"],"title":"赤褐釉炉台","titleYomi":"アカカッショクロダイ"},"id":"cobas-2356","rdfindex":{"type":["陶磁"]},"cobas-0-s":"2356","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2509","cobas-2-s":"G甲509","cobas-4-s":"陶磁","cobas-5-s":"赤褐釉炉台","cobas-6-s":"アカカッショクロダイ","cobas-7-s":"1個","cobas-8-s":"青木木米","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2509/image/slideshow_s/94315_difile1-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"13817","cobas-22-s":"2356","cobas-29-s":"工芸"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12356/image/slideshow_s/A-12356_A-12356-02.jpg"],"contributor":["浦上玉堂筆","By Urakami Gyokudō (1745–1820)","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","description":"玉堂は49歳で武士の勤めを辞め、翌年、２人の息子春琴・秋琴とともに備中（岡山県）鴨方藩を脱藩しました。遺品の大半は脱藩後ですが、本作は数少ない仕官中の、しかも玉堂としては珍しく絹に描いた作品で、画風形成途上の48歳の基準作として貴重です。(や しゅんきん しゅうきん びっちゅう かもがたはん)
","descriptionEn":"The eminent literati painter Gyokudō (1745–1820) painted this work at age 48, just a year before he retired as a public official. Most of the work that he left behind after his passing are from after he retired, making this a rare example from when he was still active in public life. It was also unusual for him to paint on silk.
","id":"cobas-159336","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12356","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・寛政4年(1792)","Edo period, 1792"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12356/image/slideshow_s/A-12356_A-12356-02.jpg"],"title":"山中結廬図","titleEn":"A Poet's Mountain Retreat","titleYomi":"さんちゅうけつろず"},"id":"cobas-159336","rdfindex":{"temporal":["江戸時代"],"type":["絵画"]},"cobas-0-s":"159336","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-12356","cobas-2-s":"A-12356","cobas-3-s":"重要文化財","cobas-4-s":"絵画","cobas-5-s":"山中結廬図","cobas-6-s":"さんちゅうけつろず","cobas-7-s":"1幅","cobas-8-s":"浦上玉堂筆","cobas-11-s":"江戸時代・寛政4年(1792)","cobas-12-s":"絹本墨画淡彩","cobas-13-s":"65.4×32.1","cobas-16-s":"東京国立博物館","cobas-17-h":"玉堂は49歳で武士の勤めを辞め、翌年、２人の息子春琴・秋琴とともに備中（岡山県）鴨方藩を脱藩しました。遺品の大半は脱藩後ですが、本作は数少ない仕官中の、しかも玉堂としては珍しく絹に描いた作品で、画風形成途上の48歳の基準作として貴重です。(や しゅんきん しゅうきん びっちゅう かもがたはん)
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-12356/image/slideshow_s/A-12356_A-12356-02.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"179257","cobas-22-s":"159336","cobas-29-s":"絵画:日本:近世絵画","cobas-30-s":"Important Cultural Property","cobas-31-s":"Painting","cobas-32-s":"A Poet's Mountain Retreat","cobas-34-s":"By Urakami Gyokudō (1745–1820)","cobas-37-s":"Edo period, 1792","cobas-38-s":"Ink and light color on silk","cobas-42-s":"Tokyo National Museum","cobas-43-h":"The eminent literati painter Gyokudō (1745–1820) painted this work at age 48, just a year before he retired as a public official. Most of the work that he left behind after his passing are from after he retired, making this a rare example from when he was still active in public life. It was also unusual for him to paint on silk.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12492/image/slideshow_s/A-12492_E0157020.jpg"],"contributor":["富岡鉄斎筆","By Tomioka Tessai (1836–1924)","堀田明博氏寄贈","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","description":"富岡鉄斎は幕末から大正を生き、学問を重んじて「最後の文人画家」と称された人物です。とくのある君子＠くんし＠の象徴とされる松、竹、蘭に、長寿の象徴とされる寿石＠じゅせき＠、霊芝＠れいし＠をとりあわせた作品で、おそらく贈答品として制作されたのでしょう。鉄斎らしい、墨をふんだんに使った自由な筆法が見所です。
Tomioka Tessai (1836–1924) is recognized as the last scholar-painter of Japan. In this work, probably intended as a gift, he combines a variety of auspicious imagery. The pine, bamboo, and orchid are traditional symbols of a virtuous gentleman-scholar. The upright rock and [lingzhi] mushroom at the bottom represent long life.
","id":"cobas-178288","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12492","ownerOrg":"nich","provider":"tnm","temporal":["明治～大正時代・19～20世紀","Meiji–Taishō era, 19th–20th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12492/image/slideshow_s/A-12492_E0157020.jpg"],"title":"松芝不老図","titleEn":"Pine Tree and Lingzhi Mushrooms of Immortality","titleYomi":"しょうしふろうず"},"id":"cobas-178288","cobas-0-s":"178288","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-12492","cobas-2-s":"A-12492","cobas-4-s":"絵画","cobas-5-s":"松芝不老図","cobas-6-s":"しょうしふろうず","cobas-7-s":"1幅","cobas-8-s":"富岡鉄斎筆","cobas-11-s":"明治～大正時代・19～20世紀","cobas-12-s":"紙本墨画淡彩","cobas-13-s":"136.5×32.2","cobas-14-s":"「富岡百錬」 ; 「蘿摩園主」 ; 「純是君子。鉄斎山人。」 ; 「鉄斎先生筆松芝不老図。孫男富岡益太郎敬題。」（白文方印「富岡益印」）","cobas-15-s":"堀田明博氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"富岡鉄斎は幕末から大正を生き、学問を重んじて「最後の文人画家」と称された人物です。とくのある君子＠くんし＠の象徴とされる松、竹、蘭に、長寿の象徴とされる寿石＠じゅせき＠、霊芝＠れいし＠をとりあわせた作品で、おそらく贈答品として制作されたのでしょう。鉄斎らしい、墨をふんだんに使った自由な筆法が見所です。
Tomioka Tessai (1836–1924) is recognized as the last scholar-painter of Japan. In this work, probably intended as a gift, he combines a variety of auspicious imagery. The pine, bamboo, and orchid are traditional symbols of a virtuous gentleman-scholar. The upright rock and [lingzhi] mushroom at the bottom represent long life.
"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12495/image/slideshow_s/A-12495_E0164482.jpg"],"contributor":["青木木米筆","By Aoki Mokubei (1767–1833)","大橋真有子氏寄贈","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","description":"木米は江戸後期の陶工、文人画家。山間の水辺にかかる橋を驢馬＋ろば＋に乗った人物が歩みゆく様子を描いた本作は、画面左上の款記から「停雲楼」で酒を飲みながら「別所君」の求めに応じて制作したものとわかります。潤いのある筆致に擦れた筆遣いを組み合わせた木米63歳の作品です。
Aoki Mokubei (1767–1833) was a leading painter and potter in the city of Kyoto. Mokubei's inscription in the top left, brushed in wildly flowing calligraphy, reveals that he painted this landscape upon the request of a patron while drunk. His distinctive style of painting blends pale washes with bone-dry brushwork.
","id":"cobas-178263","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12495","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・文政12年(1829)","Edo period, 1829"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12495/image/slideshow_s/A-12495_E0164482.jpg"],"title":"幽谿帰驢図","titleEn":"Returning Donkey in a Secluded Valley","titleYomi":"ゆうけいきろず"},"id":"cobas-178263","cobas-0-s":"178263","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-12495","cobas-2-s":"A-12495","cobas-4-s":"絵画","cobas-5-s":"幽谿帰驢図","cobas-6-s":"ゆうけいきろず","cobas-7-s":"1幅","cobas-8-s":"青木木米筆","cobas-11-s":"江戸時代・文政12年(1829)","cobas-12-s":"紙本墨画淡彩","cobas-13-s":"96.1×27.5","cobas-14-s":"青木聾米翁畫幽谿騎驢圖（墨書） ; 明治卅有三年庚子至日観并題画蓋於攝西須磨客次臥遊樓／八十有七叟直入道人（墨書） ; 直入山人 ; 春風致和 ; 木米／幽谿騎／駄図（墨書） ; 文政己丑十一月冬至日／停雲楼酒間中作山水／別所君嘱也 聾米（墨書） ; 青来 ; 木米","cobas-15-s":"大橋真有子氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"木米は江戸後期の陶工、文人画家。山間の水辺にかかる橋を驢馬＋ろば＋に乗った人物が歩みゆく様子を描いた本作は、画面左上の款記から「停雲楼」で酒を飲みながら「別所君」の求めに応じて制作したものとわかります。潤いのある筆致に擦れた筆遣いを組み合わせた木米63歳の作品です。
Aoki Mokubei (1767–1833) was a leading painter and potter in the city of Kyoto. Mokubei's inscription in the top left, brushed in wildly flowing calligraphy, reveals that he painted this landscape upon the request of a patron while drunk. His distinctive style of painting blends pale washes with bone-dry brushwork.
"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/G-5380/image/slideshow_s/G-5380_E0188929.jpg"],"contributor":["富岡鉄斎作","広田松繁氏寄贈","東京国立博物館"],"database":"cobas","dclass":"750","id":"cobas-80832","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/G-5380","ownerOrg":"nich","provider":"tnm","temporal":["大正6年(1917)"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/G-5380/image/slideshow_s/G-5380_E0188929.jpg"],"title":"木茶杓 霞","titleYomi":"きちゃしゃく かすみ"},"id":"cobas-80832","rdfindex":{"temporal":["大正"],"type":["陶磁"]},"cobas-0-s":"80832","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/G-5380","cobas-2-s":"G-5380","cobas-4-s":"陶磁","cobas-5-s":"木茶杓 霞","cobas-6-s":"きちゃしゃく かすみ","cobas-7-s":"1本","cobas-8-s":"富岡鉄斎作","cobas-11-s":"大正6年(1917)","cobas-12-s":"木製","cobas-13-s":"長18.3","cobas-15-s":"広田松繁氏寄贈","cobas-16-s":"東京国立博物館","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/G-5380/image/slideshow_s/G-5380_E0188929.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"60296","cobas-22-s":"80832","cobas-29-s":"工芸:芸能・芸道:茶道具"}]}