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.
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., <i>nume</i>). 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":1787588140545,"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/1488_difile3-M.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/1488_difile3-M.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/A%E7%94%B299/image/slideshow_s/412017_difile2-L.jpg"],"contributor":["田能村竹田","Tanomura Chikuden","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-4748","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B299","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["江戸時代・19世紀","Edo ・19th"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B299/image/slideshow_s/412017_difile2-L.jpg"],"title":"魚藍観音図","titleEn":"Kannon (Avalokitesvara) Holding a Fish Basket","titleYomi":"ギョランカンノンズ"},"id":"cobas-4748","rdfindex":{"type":["絵画"]},"cobas-0-s":"4748","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B299","cobas-2-s":"A甲99","cobas-4-s":"絵画","cobas-5-s":"魚藍観音図","cobas-6-s":"ギョランカンノンズ","cobas-7-s":"1幅","cobas-8-s":"田能村竹田","cobas-9-s":"日本","cobas-11-s":"江戸時代・19世紀","cobas-13-s":"縦118.7cm:横31.8cm","cobas-14-s":"「壬辰歳孟蘭盆日焚香敬冩 田憲」・白文「憲印」","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%B299/image/slideshow_s/412017_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"625","cobas-22-s":"4748","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Kannon (Avalokitesvara) Holding a Fish Basket","cobas-34-s":"Tanomura Chikuden","cobas-37-s":"Edo ・19th","cobas-39-s":"Height118.7cm:Width31.8cm","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-11892/image/slideshow_s/A-11892_C0087625.jpg"],"contributor":["浦上玉堂筆","By Urakami Gyokudō","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","description":" 花咲く木々の間を通り、柳の下を通るという題意。下方の橋上に人の姿。近景の背の高い木々が構図の要で、上方、山を扇状に構成する。玉堂は破天荒な画風が持ち味ながら、やや筆が走りすぎ。題右上の印は「酔郷」で飲酒作画であろうか。まさに魅力の酔墨画だ。
This uninhibited ink painting is by Urakami Gyokudo, a distinctive artist of the [Bunjinga] literati school who had an unprecedented style of painting.
","id":"cobas-48178","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-11892","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・19世紀","Edo period, 19th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-11892/image/slideshow_s/A-11892_C0087625.jpg"],"title":"穿花渡柳図","titleEn":"Passing under Flowering Trees and Willows","titleYomi":"せんかとりゅうず"},"id":"cobas-48178","rdfindex":{"temporal":["江戸時代"],"type":["絵画"]},"cobas-0-s":"48178","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-11892","cobas-2-s":"A-11892","cobas-4-s":"絵画","cobas-5-s":"穿花渡柳図","cobas-6-s":"せんかとりゅうず","cobas-7-s":"1幅","cobas-8-s":"浦上玉堂筆","cobas-11-s":"江戸時代・19世紀","cobas-12-s":"紙本墨画","cobas-13-s":"114.5×59.8","cobas-16-s":"東京国立博物館","cobas-17-h":" 花咲く木々の間を通り、柳の下を通るという題意。下方の橋上に人の姿。近景の背の高い木々が構図の要で、上方、山を扇状に構成する。玉堂は破天荒な画風が持ち味ながら、やや筆が走りすぎ。題右上の印は「酔郷」で飲酒作画であろうか。まさに魅力の酔墨画だ。
This uninhibited ink painting is by Urakami Gyokudo, a distinctive artist of the [Bunjinga] literati school who had an unprecedented style of painting.
","cobas-46-s":"Paintings, sketches, and prints:Japan: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%B2110/image/slideshow_s/117_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","description":"杏雨（きょうう：1810～84）は豊後出身の南画家で同郷の田能村竹田に師事、その画風に似た細緻な山水図が多い。史詩を帆足万里や頼山陽に学んだ。代表作である本図にも丹念な用筆用墨がみられ、自筆による七言絶句をそえている。年記によると、慶応元年（1865）十月、五十六歳の作品で、荷湖銷夏図と一対をなす。
","descriptionEn":"Kyôu (1810-84) from Bungo Province (present-day Ôita Prefecture) was a southern-style painter who studied under the guidance of Tanomura Chikuden (1777-1835), also a native of Bungo Province. 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). This representative piece by Kyôu demonstrates his careful brushwork and bears a Chinese quatrain with seven-character lines in his own handwriting. According to the inscription, it was made in the tenth month of 1865 (Keiô 1) when Kyôu was 56 years old. This work and <i>Lotus Pond in the Summer</i> constitute a pair of hanging scrolls.
","id":"cobas-5895","lastUpdatedDate":1787588140545,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2110","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%B2110/image/slideshow_s/117_difile1-L.jpg"],"title":"松陵下舟図","titleEn":"Boats Sailing Below Pine Cliffs","titleYomi":"ショウリョウカセンズ"},"id":"cobas-5895","rdfindex":{"type":["絵画"]},"cobas-0-s":"5895","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2110","cobas-2-s":"A甲110","cobas-4-s":"絵画","cobas-5-s":"松陵下舟図","cobas-6-s":"ショウリョウカセンズ","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169.5cm:横70.8cm","cobas-14-s":"朱文方形「杏雨記画」「＊遠之印」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"杏雨（きょうう：1810～84）は豊後出身の南画家で同郷の田能村竹田に師事、その画風に似た細緻な山水図が多い。史詩を帆足万里や頼山陽に学んだ。代表作である本図にも丹念な用筆用墨がみられ、自筆による七言絶句をそえている。年記によると、慶応元年（1865）十月、五十六歳の作品で、荷湖銷夏図と一対をなす。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2110/image/slideshow_s/117_difile1-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"84","cobas-22-s":"5895","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Boats Sailing Below Pine Cliffs","cobas-34-s":"Hoashi Kyo'u","cobas-37-s":"Edo","cobas-39-s":"Height169.5cm:Width70.8cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"Kyôu (1810-84) from Bungo Province (present-day Ôita Prefecture) was a southern-style painter who studied under the guidance of Tanomura Chikuden (1777-1835), also a native of Bungo Province. 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). This representative piece by Kyôu demonstrates his careful brushwork and bears a Chinese quatrain with seven-character lines in his own handwriting. According to the inscription, it was made in the tenth month of 1865 (Keiô 1) when Kyôu was 56 years old. This work and Lotus Pond in the Summer constitute a pair of hanging scrolls.
","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 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"},{"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%B2288/image/slideshow_s/138215_difile3-L.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":"「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/kyohaku/A%E7%94%B2380/image/slideshow_s/1697_difile3-L.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":"「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/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.
竹田は豊後（大分県）岡藩に儒者として仕え、37歳で隠居した後は、各地を旅し、親交を深めた友人たちと詩書画三昧の生活を送りました。本作は竹田51歳の時の作品で、長崎春徳寺の僧鉄翁に贈られたもの。竹田には珍しく、潤いのある米点を多用しています。
Chikuden served Oka Domain (now Oita Prefecture) as a Confucian scholar. After retiring at the age of 37, he traveled to various regions and enjoyed life by practicing painting, calligraphy, and music.
竹田は豊後（大分県）岡藩に儒者として仕え、37歳で隠居した後は、各地を旅し、親交を深めた友人たちと詩書画三昧の生活を送りました。本作は竹田51歳の時の作品で、長崎春徳寺の僧鉄翁に贈られたもの。竹田には珍しく、潤いのある米点を多用しています。
Chikuden served Oka Domain (now Oita Prefecture) as a Confucian scholar. After retiring at the age of 37, he traveled to various regions and enjoyed life by practicing painting, calligraphy, and music.
突然の風雨に波立つ水面の描写、舟上の人々の表情に注目したい。竹田は同じようなテーマの作品を何点か描いているが、その中でも大作で、質が高い。画中の自賛@じさん@により文政12年(1829)２月、長崎において描いたことがわかり、竹田の動向を知る点でも貴重だ。(160809_h082)
突然の風雨に波立つ水面の描写、舟上の人々の表情に注目したい。竹田は同じようなテーマの作品を何点か描いているが、その中でも大作で、質が高い。画中の自賛@じさん@により文政12年(1829)２月、長崎において描いたことがわかり、竹田の動向を知る点でも貴重だ。(160809_h082)
乱舞し絡［から］まる葡萄。画家の内面を映すかのように、筆さばきは強く激しい。水戸藩士の杏所は、藩主から夫人の養母への作画を求められ、自分は職業画家ではないと拒否、豪飲して描いた。左下に「沈酔［ちんすい］」（酔いつぶれ）の語がみえる。武士の覚悟が伝わる名作だ。
画面いっぱいに、葡萄の実や蔓（つる）、大きな葉が力強く描かれています。よく見るとモノクロではなく、墨と藍の2色が使われていて、それによって立体感や奥行きが感じられるようです。墨がにじんだ微妙なグラデーションの葉には葉脈が透けてみえます。ところどころかすれた線や、藍色のしぶきが飛んだように表された部分など、ダイナミックな勢いを感じさせます。作者はどんなふうに、この絵を描いたのでしょうか。
作者の立原杏所（たちはらきょうしょ）は水戸藩の武士でした。藩主・徳川斉昭（なりあき）から、宴席で人々の前で絵を描くことを求められましたが、自分は職業画家ではなく、あくまで武士であるといって、決死の覚悟で拒否をしました。そして大酒をあおり、翌日、藩主の前でまだ酔いののこった状態で、この絵を描いたといわれています。本来は緻密で正確な絵を描くことができる画家が、藩主との緊迫した関係のもと、この激しい作品をのこしたことに、武士の覚悟が感じられるようです。
The screen is bursting with powerful depictions of grapes, vines, and large leaves. It may seem monochrome at first glance, but a closer look reveals how the artist has used two colors, black ink and indigo, to engender a sense of three-dimensionality and depth. Smudged black ink has created subtle gradations on leaves lined with veins. The painting exudes a sense of dynamism, from the coarse lines scattered throughout to the spatters of indigo-colored spray. So how did the artist paint this vigorous work?
The painter, Tachihara Kyosho, was a samurai who lived in the Mito domain, or present-day Ibaraki prefecture. The domain's ruler, Tokugawa Nariaki, asked him to paint before diners at a banquet. Prepared for the worst, Kyosho refused, saying he was a warrior, not a professional painter. He is said to have drunk heavily that day, and painted this work before the ruler the following day while still intoxicated. Kyosho was actually capable of producing precise, meticulously-observed paintings, but this fierce work, painted under duress from his feudal lord, seems to be imbued with the spirit of samurai resolve.
乱舞し絡［から］まる葡萄。画家の内面を映すかのように、筆さばきは強く激しい。水戸藩士の杏所は、藩主から夫人の養母への作画を求められ、自分は職業画家ではないと拒否、豪飲して描いた。左下に「沈酔［ちんすい］」（酔いつぶれ）の語がみえる。武士の覚悟が伝わる名作だ。
画面いっぱいに、葡萄の実や蔓（つる）、大きな葉が力強く描かれています。よく見るとモノクロではなく、墨と藍の2色が使われていて、それによって立体感や奥行きが感じられるようです。墨がにじんだ微妙なグラデーションの葉には葉脈が透けてみえます。ところどころかすれた線や、藍色のしぶきが飛んだように表された部分など、ダイナミックな勢いを感じさせます。作者はどんなふうに、この絵を描いたのでしょうか。
作者の立原杏所（たちはらきょうしょ）は水戸藩の武士でした。藩主・徳川斉昭（なりあき）から、宴席で人々の前で絵を描くことを求められましたが、自分は職業画家ではなく、あくまで武士であるといって、決死の覚悟で拒否をしました。そして大酒をあおり、翌日、藩主の前でまだ酔いののこった状態で、この絵を描いたといわれています。本来は緻密で正確な絵を描くことができる画家が、藩主との緊迫した関係のもと、この激しい作品をのこしたことに、武士の覚悟が感じられるようです。
The screen is bursting with powerful depictions of grapes, vines, and large leaves. It may seem monochrome at first glance, but a closer look reveals how the artist has used two colors, black ink and indigo, to engender a sense of three-dimensionality and depth. Smudged black ink has created subtle gradations on leaves lined with veins. The painting exudes a sense of dynamism, from the coarse lines scattered throughout to the spatters of indigo-colored spray. So how did the artist paint this vigorous work?
The painter, Tachihara Kyosho, was a samurai who lived in the Mito domain, or present-day Ibaraki prefecture. The domain's ruler, Tokugawa Nariaki, asked him to paint before diners at a banquet. Prepared for the worst, Kyosho refused, saying he was a warrior, not a professional painter. He is said to have drunk heavily that day, and painted this work before the ruler the following day while still intoxicated. Kyosho was actually capable of producing precise, meticulously-observed paintings, but this fierce work, painted under duress from his feudal lord, seems to be imbued with the spirit of samurai resolve.