「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/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 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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 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・18世紀"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2902/image/slideshow_s/53974_difile2-L.jpg"],"title":"寇先図","titleYomi":"コウセンズ"},"id":"cobas-5053","rdfindex":{"type":["絵画"]},"cobas-0-s":"5053","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2902","cobas-2-s":"A甲902","cobas-4-s":"絵画","cobas-5-s":"寇先図","cobas-6-s":"コウセンズ","cobas-7-s":"1幅","cobas-8-s":"与謝蕪村","cobas-9-s":"日本","cobas-11-s":"江戸時代 中期 ・18世紀","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%B2902/image/slideshow_s/53974_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"21604","cobas-22-s":"5053","cobas-29-s":"絵画:日本:近世絵画"},{"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/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.
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阮瑜之印 ; 海雲主人","cobas-15-s":"久世民榮氏寄贈","cobas-16-s":"東京国立博物館","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-3402/image/slideshow_s/B-3402_E0030955.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"200466","cobas-22-s":"160881","cobas-31-s":"Calligraphy","cobas-32-s":"Poem","cobas-34-s":"By Gion Nankai (1677–1751)","cobas-37-s":"Edo period, 18th century","cobas-38-s":"Ink on paper","cobas-39-s":"121.2×27.2","cobas-41-s":"Gift of Ms. Kuze Tamie","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/tnm/A-258/image/slideshow_s/A-258_E0042396.jpg"],"contributor":["伝祇園南海筆","Attributed to Gion Nankai (1677 - 1751)","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","id":"cobas-37818","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-258","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・18世紀","Edo period, 18th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-258/image/slideshow_s/A-258_E0042396.jpg"],"title":"山水図","titleEn":"Landscape","titleYomi":"さんすいず"},"id":"cobas-37818","rdfindex":{"temporal":["江戸時代"],"type":["絵画"]},"cobas-0-s":"37818","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-258","cobas-2-s":"A-258","cobas-4-s":"絵画","cobas-5-s":"山水図","cobas-6-s":"さんすいず","cobas-7-s":"1幅","cobas-8-s":"伝祇園南海筆","cobas-11-s":"江戸時代・18世紀","cobas-12-s":"紙本淡彩","cobas-13-s":"120.6×27.5","cobas-16-s":"東京国立博物館","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-258/image/slideshow_s/A-258_E0042396.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"482","cobas-22-s":"37818","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Landscape","cobas-34-s":"Attributed to Gion Nankai (1677 - 1751)","cobas-37-s":"Edo period, 18th century","cobas-38-s":"Light colors on paper","cobas-42-s":"Tokyo 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%B2354/image/slideshow_s/1656_difile3-M.jpg"],"contributor":["与謝蕪村","Yosa Buson","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":"款記に「庚辰杪冬望東成謝長庚酔中偶●得王叔明」とあり、本図が王蒙の画法を模しての制作であったことを知ることができる。また、「酔中」ともあって、これが酔余の席画であることが示唆されている。事実、本図を仔細に観察すると墨が下に流れているのが認められ、屏風画を描く普通の方法をとらずに、蕪村は屏風を立てたままで一気に筆を走らせていったことがわかる。まことに、当時の京都のサロン的雰囲気をうかがわせる作品といえよう。なお、この屏風は本来「倣米（べい）ふつ山水図」と対をなしていた。
","descriptionEn":"ccording to the inscription, this screen was painted in the manner of O Mo (Wang Meng) on December 15, 1760. The inscription also says that it was painted at a drinking party. When examining this screen carefully, we can find the ink which has run down on the paper. This reveals the Buson did not paint this screen in an ordinary way but, after setting up the screen, painted on it at one sitting. A screen painted in this manned reflects the saloon-like atmosphere surrounding the artists and their patrons in Kyoto. One piece from what was originally a pair of hanging scrolls, its counterpart had been a landscape painting in the manner of Bei Futsu (Mi Fu).
","id":"cobas-5604","lastUpdatedDate":1787588140545,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2354","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%B2354/image/slideshow_s/1656_difile3-M.jpg"],"title":"倣王蒙山水図","titleEn":"Landscape, After Wang Meng","titleYomi":"ホウオウモウサンスイズ"},"id":"cobas-5604","rdfindex":{"type":["絵画"]},"cobas-0-s":"5604","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2354","cobas-2-s":"A甲354","cobas-4-s":"絵画","cobas-5-s":"倣王蒙山水図","cobas-6-s":"ホウオウモウサンスイズ","cobas-7-s":"6曲1隻","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":"各縦144cm:横339.5cm","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"款記に「庚辰杪冬望東成謝長庚酔中偶●得王叔明」とあり、本図が王蒙の画法を模しての制作であったことを知ることができる。また、「酔中」ともあって、これが酔余の席画であることが示唆されている。事実、本図を仔細に観察すると墨が下に流れているのが認められ、屏風画を描く普通の方法をとらずに、蕪村は屏風を立てたままで一気に筆を走らせていったことがわかる。まことに、当時の京都のサロン的雰囲気をうかがわせる作品といえよう。なお、この屏風は本来「倣米（べい）ふつ山水図」と対をなしていた。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2354/image/slideshow_s/1656_difile3-M.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"807","cobas-22-s":"5604","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Landscape, After Wang Meng","cobas-34-s":"Yosa Buson","cobas-37-s":"Edo ・18th","cobas-39-s":"(Each) Height144cm:Width339.5cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"ccording to the inscription, this screen was painted in the manner of O Mo (Wang Meng) on December 15, 1760. The inscription also says that it was painted at a drinking party. When examining this screen carefully, we can find the ink which has run down on the paper. This reveals the Buson did not paint this screen in an ordinary way but, after setting up the screen, painted on it at one sitting. A screen painted in this manned reflects the saloon-like atmosphere surrounding the artists and their patrons in Kyoto. One piece from what was originally a pair of hanging scrolls, its counterpart had been a landscape painting in the manner of Bei Futsu (Mi Fu).
","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%B2285/image/slideshow_s/1613_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-5661","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2285","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["明治時代・19世紀","Meiji ・19th"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2285/image/slideshow_s/1613_difile2-L.jpg"],"title":"畝傍山御陵図","titleEn":"Imperial Tomb at Mount Unebi","titleYomi":"ウネビヤマゴリョウヅ"},"id":"cobas-5661","rdfindex":{"type":["絵画"]},"cobas-0-s":"5661","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2285","cobas-2-s":"A甲285","cobas-4-s":"絵画","cobas-5-s":"畝傍山御陵図","cobas-6-s":"ウネビヤマゴリョウヅ","cobas-7-s":"1幅","cobas-8-s":"富岡鉄斎","cobas-9-s":"日本","cobas-11-s":"明治時代・19世紀","cobas-13-s":"縦126.4cm:横42.5cm","cobas-14-s":"百錬謹写・「鉄」「斎」（白文）","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%B2285/image/slideshow_s/1613_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"743","cobas-22-s":"5661","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Imperial Tomb at Mount Unebi","cobas-34-s":"Tomioka Tessai","cobas-37-s":"Meiji ・19th","cobas-39-s":"Height126.4cm:Width42.5cm","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-12191/image/slideshow_s/A-12191_C0048336.jpg"],"contributor":["椿椿山筆","By Tsubaki Chinzan (1801 - 54)","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","description":"像主は甲府藩主徳川綱重(1646～1709)に仕え､主君の過度の飲酒を諌めた忠臣。没後もその霊魂がたびたび諌めるので、綱重もついに禁酒したという。没後の遺像であるが、肖像画に西洋画法を取り入れた渡辺崋山の画法を継承したリアルな表現が眼を惹く｡
像主は甲府藩主徳川綱重(1646～1709)に仕え､主君の過度の飲酒を諌めた忠臣。没後もその霊魂がたびたび諌めるので、綱重もついに禁酒したという。没後の遺像であるが、肖像画に西洋画法を取り入れた渡辺崋山の画法を継承したリアルな表現が眼を惹く｡