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.
","contributor":["与謝蕪村","Yosa Buson","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":"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"},{"id":"cobas-5626","common":{"id":"cobas-5626","title":"福内鬼外図","titleEn":"In with Good Fortune! Out with the Demons!","titleYomi":"フクワウチオニワソトズ","lastUpdatedDate":1776702365738,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2325","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2325/image/slideshow_s/211673_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2325/image/slideshow_s/211673_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["富岡鉄斎","Tomioka Tessai","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["明治時代","Meiji"],"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":"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"},{"id":"cobas-5604","common":{"id":"cobas-5604","title":"倣王蒙山水図","titleEn":"Landscape, After Wang Meng","titleYomi":"ホウオウモウサンスイズ","lastUpdatedDate":1776702365738,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2354","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2354/image/slideshow_s/26750_difile3-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2354/image/slideshow_s/26750_difile3-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"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).
","contributor":["与謝蕪村","Yosa Buson","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["江戸時代・18世紀","Edo ・18th"],"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":"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/26750_difile3-L.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"},{"id":"cobas-5582","common":{"id":"cobas-5582","title":"山水図","titleEn":"Landscape","titleYomi":"サンスイズ","lastUpdatedDate":1776702365738,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2380","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2380/image/slideshow_s/1697_difile3-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2380/image/slideshow_s/1697_difile3-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"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 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.
","contributor":["与謝蕪村","Yosa Buson","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["江戸時代・18世紀","Edo ・18th"],"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":"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"},{"id":"cobas-38631","common":{"id":"cobas-38631","title":"山水図","titleEn":"Ladscape","titleYomi":"さんすいず","lastUpdatedDate":1776702365738,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-1118","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-1118/image/slideshow_s/A-1118_C0100264.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-1118/image/slideshow_s/A-1118_C0100264.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["立原杏所筆","By Tachihara Kyosho (1785-1840)","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・文化12年(1815)","Edo period, dated 1815 (Bunka 12)"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"cobas-0-s":"38631","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-1118","cobas-2-s":"A-1118","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":"立原杏所筆","cobas-11-s":"江戸時代・文化12年(1815)","cobas-12-s":"絹本淡彩","cobas-13-s":"151.5×34.8","cobas-16-s":"東京国立博物館","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-1118/image/slideshow_s/A-1118_C0100264.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"2271","cobas-22-s":"38631","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Ladscape","cobas-34-s":"By Tachihara Kyosho (1785-1840)","cobas-37-s":"Edo period, dated 1815 (Bunka 12)","cobas-38-s":"Light color on silk","cobas-42-s":"Tokyo National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-47685","common":{"id":"cobas-47685","title":"兎道朝暾図","titleEn":"Morning View of Uji River","titleYomi":"うじちょうとんず","lastUpdatedDate":1776702365738,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-11191","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-11191/image/slideshow_s/A-11191_E0014904.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-11191/image/slideshow_s/A-11191_E0014904.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"木米は江戸時代後期を代表する文人画家・陶工。本作は鮮やかな淡彩と墨の濃淡、渇筆で宇治を描いた木米の代表作です。画面中央には宇治川が流れ、右に平等院鳳凰堂、左には宇治橋がみえます。描かれた人物が、いずれも中国人物として表現されていることにも注目です。
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.
木米は江戸時代後期を代表する文人画家・陶工。本作は鮮やかな淡彩と墨の濃淡、渇筆で宇治を描いた木米の代表作です。画面中央には宇治川が流れ、右に平等院鳳凰堂、左には宇治橋がみえます。描かれた人物が、いずれも中国人物として表現されていることにも注目です。
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.
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.
","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"],"temporal":["明治～大正時代・19～20世紀","Meiji–Taishō era, 19th–20th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"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.
"},{"id":"cobas-48378","common":{"id":"cobas-48378","title":"葡萄図","titleEn":"Grapes","titleYomi":"ぶどうず","lastUpdatedDate":1776702365738,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12101","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12101/image/slideshow_s/A-12101_A-12101-02.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12101/image/slideshow_s/A-12101_A-12101-02.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":" 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.
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.
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).
","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":"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).
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-5053","common":{"id":"cobas-5053","title":"寇先図","titleYomi":"コウセンズ","lastUpdatedDate":1776702365738,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2902","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2902/image/slideshow_s/53974_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2902/image/slideshow_s/53974_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["与謝蕪村","京都国立博物館 Kyoto National Museum"],"temporal":["江戸時代 中期 ・18世紀"],"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":"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"},{"id":"cobas-57421","common":{"id":"cobas-57421","title":"五言律詩","titleEn":"Poem","titleYomi":"ごごんりっし","lastUpdatedDate":1776702365738,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-2338","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-2338/image/slideshow_s/B-2338_E0199160.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/B-2338/image/slideshow_s/B-2338_E0199160.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"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-5588","common":{"id":"cobas-5588","title":"武陵桃源・蓬莱仙境図","titleEn":"Utopian Landscape","titleYomi":"ブリョウトウゲン・ホウライセンキョウズ","lastUpdatedDate":1776702365738,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2387","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2387/image/slideshow_s/1712_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2387/image/slideshow_s/1712_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"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.
幕末の儒学者として名高い佐藤一斎とその妻を描く。西洋画法を取り入れた繊細な筆遣い、陰影法による顔の描写など、師である渡辺崋山の画風を受け継ぎつつも、線描は柔らかになり、彩色も温和な表現となっている。椿山の独自性を示す肖像画の１つである。
In these naturalistic portraits of the highly-regarded Confucian scholar Sato Issai and his wife, Tsubaki Chinzan adopted the Western shading techniques he had learned from his teacher Watanabe Kazan.
幕末の儒学者として名高い佐藤一斎とその妻を描く。西洋画法を取り入れた繊細な筆遣い、陰影法による顔の描写など、師である渡辺崋山の画風を受け継ぎつつも、線描は柔らかになり、彩色も温和な表現となっている。椿山の独自性を示す肖像画の１つである。
In these naturalistic portraits of the highly-regarded Confucian scholar Sato Issai and his wife, Tsubaki Chinzan adopted the Western shading techniques he had learned from his teacher Watanabe Kazan.