儒学者である頼山陽+らいさんよう+の依頼で制作、上京の途中で山陽の死を知り、二人の共通の友人であった木米+もくべい+に贈った作品です。竹田最盛期の作で、明るく耀く繊細な画面が秀逸です。豊後+ぶんご+(大分県)岡藩の儒官だった竹田は、藩政への不満から職を辞し詩画三昧+ざんまい+の日々を送りました。
縦に細長い画面に、山が描かれています。かすれた筆のタッチを使い、墨、茶、緑、朱などの淡い色合いで描かれた、透明感あふれる、明るい風景です。絵の中を歩く気分で下から辿っていくと、渓流に舟を浮かべた釣り人、竹林に囲まれた住まいがあらわれ、上流の橋を過ぎると松林が続きます。さらに上にすすむと雲の合間に朱色の建物のお寺が立っているのがわかるでしょうか。タイトルの「松巒古寺図（しょうらんこじず）」の「巒（らん）」とは、山の峰、連なりのこと。松林の続く山の峰にあらわれる古いお寺を描いた絵、ということです。
作者の田能村竹田（たのむら ちくでん）は現在の大分県、岡藩に仕えていましたが、辞職したのち、詩画を楽しむ生活を送りました。この作品は、天保3年（1832）に3歳年下の友人である漢詩人の頼山陽（らい さんよう）に頼まれて描いたものでしたが、これを届けに京都に向かう途中で、山陽の死を知ります。翌4年にその経緯を書き加えて、2人の共通の友である木米（もくべい）に贈りましたが、その直後に木米も亡くなってしまいます。背景を知ってみると、心の通った友への贈り物であるこの絵の中で、彼らが共に舟を浮かべ、心を遊ばせているようにも思えます。
Tanomura Chikuden painted this delicate landscape upon the request of his friend, the influential Confucian scholar Rai San'yō (1780–1832). They sent the painting to their mutual friend Mokubei.
Mountains rise up this long, thin screen. The artist has used a delicate touch and light black, brown, green and vermillion hues to create a bright, translucent landscape. If you entered the painting at the bottom and made your way up, you would pass a fishing boat in the mountain stream and some houses in a bamboo forest. A glance further up would reveal pines stretching beyond an upstream bridge. At the top of your vision, you would see vermillion temple buildings peeking out amid the clouds.
As a man of some cultivation, Tanomura Chikuden lived a rich life of poetry and painting in what is now Oita prefecture. This work was commissioned in 1832 by Chikuden's friend Rai Sanyo, a composer of Chinese-style poems, but Sanyo died while Chikuden was on his way to Kyoto to deliver the finished work. The following year, Chikuden added an inscription about these events and he then gifted the painting to Mokubei, a mutual friend of his and Sanyo's, but Mokubei also passed away soon after. This background lends a new aspect to this gift painted for dear friends. Perhaps when we look closer now, we can see the friends sailing on the boat together and enjoying each other's company.
儒学者である頼山陽+らいさんよう+の依頼で制作、上京の途中で山陽の死を知り、二人の共通の友人であった木米+もくべい+に贈った作品です。竹田最盛期の作で、明るく耀く繊細な画面が秀逸です。豊後+ぶんご+(大分県)岡藩の儒官だった竹田は、藩政への不満から職を辞し詩画三昧+ざんまい+の日々を送りました。
縦に細長い画面に、山が描かれています。かすれた筆のタッチを使い、墨、茶、緑、朱などの淡い色合いで描かれた、透明感あふれる、明るい風景です。絵の中を歩く気分で下から辿っていくと、渓流に舟を浮かべた釣り人、竹林に囲まれた住まいがあらわれ、上流の橋を過ぎると松林が続きます。さらに上にすすむと雲の合間に朱色の建物のお寺が立っているのがわかるでしょうか。タイトルの「松巒古寺図（しょうらんこじず）」の「巒（らん）」とは、山の峰、連なりのこと。松林の続く山の峰にあらわれる古いお寺を描いた絵、ということです。
作者の田能村竹田（たのむら ちくでん）は現在の大分県、岡藩に仕えていましたが、辞職したのち、詩画を楽しむ生活を送りました。この作品は、天保3年（1832）に3歳年下の友人である漢詩人の頼山陽（らい さんよう）に頼まれて描いたものでしたが、これを届けに京都に向かう途中で、山陽の死を知ります。翌4年にその経緯を書き加えて、2人の共通の友である木米（もくべい）に贈りましたが、その直後に木米も亡くなってしまいます。背景を知ってみると、心の通った友への贈り物であるこの絵の中で、彼らが共に舟を浮かべ、心を遊ばせているようにも思えます。
Tanomura Chikuden painted this delicate landscape upon the request of his friend, the influential Confucian scholar Rai San'yō (1780–1832). They sent the painting to their mutual friend Mokubei.
Mountains rise up this long, thin screen. The artist has used a delicate touch and light black, brown, green and vermillion hues to create a bright, translucent landscape. If you entered the painting at the bottom and made your way up, you would pass a fishing boat in the mountain stream and some houses in a bamboo forest. A glance further up would reveal pines stretching beyond an upstream bridge. At the top of your vision, you would see vermillion temple buildings peeking out amid the clouds.
As a man of some cultivation, Tanomura Chikuden lived a rich life of poetry and painting in what is now Oita prefecture. This work was commissioned in 1832 by Chikuden's friend Rai Sanyo, a composer of Chinese-style poems, but Sanyo died while Chikuden was on his way to Kyoto to deliver the finished work. The following year, Chikuden added an inscription about these events and he then gifted the painting to Mokubei, a mutual friend of his and Sanyo's, but Mokubei also passed away soon after. This background lends a new aspect to this gift painted for dear friends. Perhaps when we look closer now, we can see the friends sailing on the boat together and enjoying each other's company.
画面左上に「春山欲雨 玉堂」と記し、これから雨が降りそうな春山を描いています。60代前半頃の作品と考えられ、息子である春琴による識語+しきご+が付属しています。玉堂の特徴である、横に長い米点+べいてん+を用いてリズミカルに山と樹葉を描いた、独創的な水墨作品です。
Gyokudō's work is characterized by an expressive, rythmical quality created through an overlay of short horizontal strokes on diluted planes of lighter ink. He may have achieved this eccentric brushwork through a good dose of alcohol.
画面左上に「春山欲雨 玉堂」と記し、これから雨が降りそうな春山を描いています。60代前半頃の作品と考えられ、息子である春琴による識語+しきご+が付属しています。玉堂の特徴である、横に長い米点+べいてん+を用いてリズミカルに山と樹葉を描いた、独創的な水墨作品です。
Gyokudō's work is characterized by an expressive, rythmical quality created through an overlay of short horizontal strokes on diluted planes of lighter ink. He may have achieved this eccentric brushwork through a good dose of alcohol.
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。
","contributor":["祇園南海筆","By Gion Nankai (1676–1751)","小室貞四郎氏寄贈","Gift of Mr. Komuro Teishirō","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・18世紀","Edo period, 18th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["書跡"],"temporal":["江戸時代"]},"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"},{"id":"cobas-48589","common":{"id":"cobas-48589","title":"風雨渡舟図","titleEn":"Ferryboat in a Rainstorm","titleYomi":"ふううとしゅうず","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12312","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12312/image/slideshow_s/A-12312_C0082612.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12312/image/slideshow_s/A-12312_C0082612.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":" 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)
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.
青木木米(1767-1833)は、京焼の中興に功があり文人趣味・中国趣味・煎茶趣味豊かな陶磁器を製作した。これは3段重ねの蓋物で、各段には雲形の足がつき、下段と中段には内側を5区に区切っている。雅趣に富んだ染付（呉須）で、10種の草花とそれに対応する清友、韻友、艶友、名友、佳友、禅友、倦友、雅友、浄友、殊友の十友の文字を散らす。中国的な主題の中に器形、絵付などは京焼伝統の技法をふまえている。蓋裏、上段、中段の底裏に二重小判形の木米印を捺し、下段の底裏に染付で「陶旗職古器観木米製」の銘款を記す。また桐製春慶塗の箱には「文化十二年乙亥臈月 蘭渚室蔵 同十三年丙子閏八月 筥製」の墨書があり、これによって木米49歳頃、最も円熟した時期の作品であることが知られる。
","descriptionEn":"Aoki Mokubei (1767-1833) was the reviver of Kyoto ceramics. His porcelains were rich in elements associated with the literati, China, and the sencha (steeped tea) tea ceremony.
This three-tiered container has cloud-shaped feet; the middle and the lower tiers have five inner divisions. The designs of the “ten noble plants” and their respective Chinese characters are executed in elegant cobalt-oxide blue. The Chinese theme is expressed in the traditional Kyoto porcelain form and technique.
Mokubei's seal is impressed on the reverse side of the lid and the upper and middle container's underside, while his signature is on the reverse side of the lower container in underglaze blue. The dated inscription on this container's lacquered box proves that it was produced by Mokubei at the age of forty-nine.
青木木米(1767-1833)は、京焼の中興に功があり文人趣味・中国趣味・煎茶趣味豊かな陶磁器を製作した。これは3段重ねの蓋物で、各段には雲形の足がつき、下段と中段には内側を5区に区切っている。雅趣に富んだ染付（呉須）で、10種の草花とそれに対応する清友、韻友、艶友、名友、佳友、禅友、倦友、雅友、浄友、殊友の十友の文字を散らす。中国的な主題の中に器形、絵付などは京焼伝統の技法をふまえている。蓋裏、上段、中段の底裏に二重小判形の木米印を捺し、下段の底裏に染付で「陶旗職古器観木米製」の銘款を記す。また桐製春慶塗の箱には「文化十二年乙亥臈月 蘭渚室蔵 同十三年丙子閏八月 筥製」の墨書があり、これによって木米49歳頃、最も円熟した時期の作品であることが知られる。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2215/image/slideshow_s/326415_difile1-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"4674","cobas-22-s":"2729","cobas-29-s":"工芸","cobas-31-s":"Ceramics","cobas-32-s":"Three-Layered Food Container with Ten Noble Plants","cobas-34-s":"Aoki Mokubei","cobas-37-s":"Edo ・19th","cobas-39-s":"Height21.5cm:Width16.6cmWidth 16.6cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"Aoki Mokubei (1767-1833) was the reviver of Kyoto ceramics. His porcelains were rich in elements associated with the literati, China, and the sencha (steeped tea) tea ceremony.
This three-tiered container has cloud-shaped feet; the middle and the lower tiers have five inner divisions. The designs of the “ten noble plants” and their respective Chinese characters are executed in elegant cobalt-oxide blue. The Chinese theme is expressed in the traditional Kyoto porcelain form and technique.
Mokubei's seal is impressed on the reverse side of the lid and the upper and middle container's underside, while his signature is on the reverse side of the lower container in underglaze blue. The dated inscription on this container's lacquered box proves that it was produced by Mokubei at the age of forty-nine.
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 Lotus Pond in the Summer constitute a pair of hanging scrolls.
","contributor":["帆足杏雨","Hoashi Kyo'u","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["江戸時代","Edo"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"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"},{"id":"cobas-47619","common":{"id":"cobas-47619","title":"山野行楽図屏風","titleEn":"Outing in Mountains and Fields","titleYomi":"さんやこうらくずびょうぶ","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-11114","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-11114/image/slideshow_s/A-11114_A-11114-L-02.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-11114/image/slideshow_s/A-11114_A-11114-L-02.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"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.
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.
","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"],"temporal":["江戸時代・文政12年(1829)","Edo period, 1829"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"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.
"},{"id":"cobas-48462","common":{"id":"cobas-48462","title":"虎渓三笑図","titleEn":"Three People Laughing at Tiger Brook","titleYomi":"こけいさんしょうず","lastUpdatedDate":1774888004428,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12185","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12185/image/slideshow_s/A-12185_C0048338.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12185/image/slideshow_s/A-12185_C0048338.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"東晋時代の僧慧遠（えおん）が廬山（ろざん）にこもり、俗界に降りないと誓いましたが、陶淵明（とうえんめい）と陸修静（りくしゅうせい）を送るとき、思わず虎渓を過ぎ、ともに大笑いしたという話を描いています。半江は、岡田米山人の子。はじめ伊勢津藩の藤堂家に仕えますが、43歳で官を辞して大坂へ出、多くの文人と交遊しました。
Huiyuan became so engaged in talking to visiting friends that he accidentally broke his vow to never leave the boundaries of his hermitage. Realizing this, they laughed.
東晋時代の僧慧遠（えおん）が廬山（ろざん）にこもり、俗界に降りないと誓いましたが、陶淵明（とうえんめい）と陸修静（りくしゅうせい）を送るとき、思わず虎渓を過ぎ、ともに大笑いしたという話を描いています。半江は、岡田米山人の子。はじめ伊勢津藩の藤堂家に仕えますが、43歳で官を辞して大坂へ出、多くの文人と交遊しました。
Huiyuan became so engaged in talking to visiting friends that he accidentally broke his vow to never leave the boundaries of his hermitage. Realizing this, they laughed.
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。