高価な絖（ぬめ）を使って屏風を描きたいと思っていた蕪村（1716～1783）のために、弟子たちが屏風講を組織して十二双の屏風を描かせたという逸話が残っており、この屏風もその内のひとつと思われる。江戸中期に来日して日本画壇に強い影響を与えた中国の画家・沈南蘋の画風があらわである。
","descriptionEn":"According to an anecdote, the poet-painter Yosa Buson (1716-1783) wanted to paint a series of screens on high-quality satin silk (J., nume). This being very expensive, Buson’s disciples organized a screen-painting group to support such a production, thus allowing the master to paint twelve pairs of screens. This set of six-panel screens is thought to have been among these works. Stylistically, the influence of the Chinese Qing-dynasty (c. 1644-1912) painter, Shen Nanping (fl. late-17th to mid-18th c.), who came to Japan and had a large following in the mid-Edo period (1616-1867), figures prominently in this painting.
","id":"cobas-5740","lastUpdatedDate":1783959359508,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B296","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%B296/image/slideshow_s/143655_difile3-L.jpg"],"title":"野馬図","titleEn":"Wild Horses","titleYomi":"ヤバズ"},"id":"cobas-5740","rdfindex":{"type":["絵画"]},"cobas-0-s":"5740","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B296","cobas-2-s":"A甲96","cobas-4-s":"絵画","cobas-5-s":"野馬図","cobas-6-s":"ヤバズ","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","cobas-13-s":"各縦167cm:横366cm","cobas-14-s":"白文「春星」 「謝衣庚」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"高価な絖（ぬめ）を使って屏風を描きたいと思っていた蕪村（1716～1783）のために、弟子たちが屏風講を組織して十二双の屏風を描かせたという逸話が残っており、この屏風もその内のひとつと思われる。江戸中期に来日して日本画壇に強い影響を与えた中国の画家・沈南蘋の画風があらわである。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B296/image/slideshow_s/143655_difile3-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"624","cobas-22-s":"5740","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Wild Horses","cobas-34-s":"Yosa Buson","cobas-37-s":"Edo","cobas-39-s":"(Each) Height167cm:Width366cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"According to an anecdote, the poet-painter Yosa Buson (1716-1783) wanted to paint a series of screens on high-quality satin silk (J., nume). This being very expensive, Buson’s disciples organized a screen-painting group to support such a production, thus allowing the master to paint twelve pairs of screens. This set of six-panel screens is thought to have been among these works. Stylistically, the influence of the Chinese Qing-dynasty (c. 1644-1912) painter, Shen Nanping (fl. late-17th to mid-18th c.), who came to Japan and had a large following in the mid-Edo period (1616-1867), figures prominently in this painting.
","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%B2508/image/slideshow_s/94311_difile2-L.jpg"],"contributor":["青木木米","京都国立博物館 Kyoto National Museum"],"database":"cobas","dclass":"751","id":"cobas-2355","lastUpdatedDate":1783959359508,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2508","ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2508/image/slideshow_s/94311_difile2-L.jpg"],"title":"白泥涼炉","titleYomi":"ハクデイリョウロ"},"id":"cobas-2355","rdfindex":{"type":["陶磁"]},"cobas-0-s":"2355","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2508","cobas-2-s":"G甲508","cobas-4-s":"陶磁","cobas-5-s":"白泥涼炉","cobas-6-s":"ハクデイリョウロ","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%B2508/image/slideshow_s/94311_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"13816","cobas-22-s":"2355","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-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.
明治7年に北海道西部を歩き見聞した印象とそのほかの資料によって、アイヌの風俗や祭を独自に構成し、天真爛漫な本作を描いた。鉄斎は、全国を歩いて自然を写すことで味わい深い画面を作り上げ、東洋のあらゆる画法を研究して、独創的な表現を生み出した。
明治7年に北海道西部を歩き見聞した印象とそのほかの資料によって、アイヌの風俗や祭を独自に構成し、天真爛漫な本作を描いた。鉄斎は、全国を歩いて自然を写すことで味わい深い画面を作り上げ、東洋のあらゆる画法を研究して、独創的な表現を生み出した。
「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 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.
","id":"cobas-5645","lastUpdatedDate":1783959359508,"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/kyohaku/A%E7%94%B290/image/slideshow_s/18823_difile2-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","description":"杏雨（1810～1884）は、豊後出身の南画家で、同郷の田能村竹田に師事して、画風も竹田に似た細緻な表現の山水図が多い。史詩を帆足万里や頼山陽に学んだ。
幕末文人画のひとりの典型的な人物といってよいであろう。
Kyôu (1810-84) from the province of Bungo (present-day Ôita Prefecture) was a southern-style painter who studied under Tanomura Chikuden (1777-1835), who was also a native of Bungo. Many of Kyôu's landscape paintings resemble Chikuden's style. He learned Chinese epic poetry from Hoashi Banri (1778-1852) and Rai Sanyô (1780-1832). Kyôu was typical of literati painters who were active during the last days of the Edo period (1615-1868).
","id":"cobas-5886","lastUpdatedDate":1783959359508,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B290","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%B290/image/slideshow_s/18823_difile2-L.jpg"],"title":"梅花老屋図","titleEn":"Scholar's Hermitage in Plum Blossoms","titleYomi":"バイカロウヤズ"},"id":"cobas-5886","rdfindex":{"type":["絵画"]},"cobas-0-s":"5886","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B290","cobas-2-s":"A甲90","cobas-4-s":"絵画","cobas-5-s":"梅花老屋図","cobas-6-s":"バイカロウヤズ","cobas-7-s":"1幅","cobas-8-s":"帆足杏雨","cobas-9-s":"日本","cobas-11-s":"江戸時代","cobas-13-s":"縦171.1cm:横71.5cm","cobas-14-s":"「慶應丙寅春一月望後二月製梅花老屋図併題幽居四時雑咏首之一豊後杏雨村＊者帆足遠」・白文方形「＊遠之印」 朱文方形「杏雨＊画」 白文方形「半農」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"杏雨（1810～1884）は、豊後出身の南画家で、同郷の田能村竹田に師事して、画風も竹田に似た細緻な表現の山水図が多い。史詩を帆足万里や頼山陽に学んだ。
幕末文人画のひとりの典型的な人物といってよいであろう。
Kyôu (1810-84) from the province of Bungo (present-day Ôita Prefecture) was a southern-style painter who studied under Tanomura Chikuden (1777-1835), who was also a native of Bungo. Many of Kyôu's landscape paintings resemble Chikuden's style. He learned Chinese epic poetry from Hoashi Banri (1778-1852) and Rai Sanyô (1780-1832). Kyôu was typical of literati painters who were active during the last days of the Edo period (1615-1868).
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Out with the Demons!","titleYomi":"フクワウチオニワソトズ"},"id":"cobas-5626","rdfindex":{"type":["絵画"]},"cobas-0-s":"5626","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2325","cobas-2-s":"A甲325","cobas-4-s":"絵画","cobas-5-s":"福内鬼外図","cobas-6-s":"フクワウチオニワソトズ","cobas-7-s":"1幅","cobas-8-s":"富岡鉄斎","cobas-9-s":"日本","cobas-11-s":"明治時代","cobas-13-s":"縦48.2cm:横59.8cm: 153cm","cobas-14-s":"「鉄斎」・朱文方形瓢印 「鉄叟」","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%B2325/image/slideshow_s/211673_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"781","cobas-22-s":"5626","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"In with Good Fortune! Out with the Demons!","cobas-34-s":"Tomioka Tessai","cobas-37-s":"Meiji","cobas-39-s":"Height48.2cm:Width59.8cm 153cm","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/A%E7%94%B2387/image/slideshow_s/1712_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","description":"晋の太元年中、武陵の漁夫が山の中に発見した秘境桃源、蓬莱は東方の海中にあると信じられた神仙の住む島で、図上にそれぞれ陶淵明の桃花源記と雲笈七籤の記事を書いている。鉄斎は大正13年に89歳で没するまで、様々な先人の画を学び、また「万巻の書を読み、万里の道を行く」ことを理想としたように、幅広く、多彩な出典をもつ多くの作品を残している。画面一杯につみ重ねるような墨筆と鮮やかな色彩を縦横に駆使した、69歳の作で、近代文人画の頂点を飾る大作である。
","descriptionEn":"Togen was a mysterious region, found in a mountainous area by a fisherman in Wuling in the Taiyuan Period in the Jin Dynasty. Penglai was an imaginary island under the sea where fairies were supposed to live. Tao Yuanming's poems, “Taohuayuanji” on Taoyuan and “Yunjiqiqian” on Penglai are put on top of the picture.
Tessai studied many paintings of this predecessors. His ideal was “to read thousands of books and to walk thousands of miles,” and he made a variety of works using a variety of sources. Strokes of ink and colors look to be piled up over the picture. It was painted when Tessai was 69 years old and is one of the great masterpieces of the literary artist' style of modern days.
晋の太元年中、武陵の漁夫が山の中に発見した秘境桃源、蓬莱は東方の海中にあると信じられた神仙の住む島で、図上にそれぞれ陶淵明の桃花源記と雲笈七籤の記事を書いている。鉄斎は大正13年に89歳で没するまで、様々な先人の画を学び、また「万巻の書を読み、万里の道を行く」ことを理想としたように、幅広く、多彩な出典をもつ多くの作品を残している。画面一杯につみ重ねるような墨筆と鮮やかな色彩を縦横に駆使した、69歳の作で、近代文人画の頂点を飾る大作である。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2387/image/slideshow_s/1712_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"836","cobas-22-s":"5588","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Utopian Landscape","cobas-34-s":"Tomioka Tessai","cobas-37-s":"Meiji ・20th","cobas-39-s":"(Each) Height170cm:Width365cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"Togen was a mysterious region, found in a mountainous area by a fisherman in Wuling in the Taiyuan Period in the Jin Dynasty. Penglai was an imaginary island under the sea where fairies were supposed to live. Tao Yuanming's poems, “Taohuayuanji” on Taoyuan and “Yunjiqiqian” on Penglai are put on top of the picture.
Tessai studied many paintings of this predecessors. His ideal was “to read thousands of books and to walk thousands of miles,” and he made a variety of works using a variety of sources. Strokes of ink and colors look to be piled up over the picture. It was painted when Tessai was 69 years old and is one of the great masterpieces of the literary artist' style of modern days.
祇園南海は江戸時代中期の儒者、漢詩人です。詩文・書画いずれにもすぐれ、詩は新井白石・梁田蛻巌＠やなだぜいがん＠と並び賞されました。画は柳沢淇園＠やなぎさわきえん＠や池大雅に影響を与えるなど、文人画の先駆者の一人ともされます。本作は中国唐時代の杜甫＠とほ＠の詩「月圓」を揮毫＠きごう＠したものです。
","id":"cobas-57421","lastUpdatedDate":1783959359508,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-2338","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・18世紀","Edo period, 18th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-2338/image/slideshow_s/B-2338_E0199160.jpg"],"title":"五言律詩","titleEn":"Poem","titleYomi":"ごごんりっし"},"id":"cobas-57421","rdfindex":{"temporal":["江戸時代"],"type":["書跡"]},"cobas-0-s":"57421","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-2338","cobas-2-s":"B-2338","cobas-4-s":"書跡","cobas-5-s":"五言律詩","cobas-6-s":"ごごんりっし","cobas-7-s":"1幅","cobas-8-s":"祇園南海筆","cobas-11-s":"江戸時代・18世紀","cobas-12-s":"紙本墨書","cobas-13-s":"本紙 縦120.2 横26.3","cobas-15-s":"小室貞四郎氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"祇園南海は江戸時代中期の儒者、漢詩人です。詩文・書画いずれにもすぐれ、詩は新井白石・梁田蛻巌＠やなだぜいがん＠と並び賞されました。画は柳沢淇園＠やなぎさわきえん＠や池大雅に影響を与えるなど、文人画の先駆者の一人ともされます。本作は中国唐時代の杜甫＠とほ＠の詩「月圓」を揮毫＠きごう＠したものです。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-2338/image/slideshow_s/B-2338_E0199160.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"32219","cobas-22-s":"57421","cobas-31-s":"Calligraphy","cobas-32-s":"Poem","cobas-34-s":"By Gion Nankai (1676–1751)","cobas-37-s":"Edo period, 18th century","cobas-38-s":"Ink on paper","cobas-41-s":"Gift of Mr. Komuro Teishirō","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%B2104/image/slideshow_s/4709_difile2-L.jpg"],"contributor":["浦上玉堂","Uragami Gyokudo","京都国立博物館 Kyoto National Museum","Kyoto National 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Tsubaki Chinzan (1801-54)","桜井豊子氏寄贈","Gift of Mrs. Sakurai Toyoko","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","id":"cobas-48237","lastUpdatedDate":1783959359508,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-11959","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・天保13年(1842)","Edo period, dated 1842 (Tenpo 13)"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-11959/image/slideshow_s/A-11959_C0082638.jpg"],"title":"中戸祐喜像","titleEn":"Portrait of Nakado Sukenobu","titleYomi":"なかどすけのぶぞう"},"id":"cobas-48237","rdfindex":{"temporal":["江戸時代"],"type":["絵画"]},"cobas-0-s":"48237","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-11959","cobas-2-s":"A-11959","cobas-4-s":"絵画","cobas-5-s":"中戸祐喜像","cobas-6-s":"なかどすけのぶぞう","cobas-7-s":"1幅","cobas-8-s":"椿椿山筆","cobas-11-s":"江戸時代・天保13年(1842)","cobas-12-s":"絹本着色","cobas-13-s":"111.0×44.3","cobas-15-s":"桜井豊子氏寄贈","cobas-16-s":"東京国立博物館","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-11959/image/slideshow_s/A-11959_C0082638.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"20423","cobas-22-s":"48237","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Portrait of Nakado Sukenobu","cobas-34-s":"By Tsubaki Chinzan (1801-54)","cobas-37-s":"Edo period, dated 1842 (Tenpo 13)","cobas-38-s":"Colors on silk","cobas-41-s":"Gift of Mrs. Sakurai Toyoko","cobas-42-s":"Tokyo National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"}]}