杏雨（1810～1884）は、豊後出身の南画家で、同郷の田能村竹田に師事して、画風も竹田に似た細緻な表現の山水図が多い。史詩を帆足万里や頼山陽に学んだ。
幕末文人画のひとりの典型的な人物といってよいであろう。
Kyôu (1810-84) from the province of Bungo (present-day Ôita Prefecture) was a southern-style painter who studied under Tanomura Chikuden (1777-1835), who was also a native of Bungo. Many of Kyôu's landscape paintings resemble Chikuden's style. He learned Chinese epic poetry from Hoashi Banri (1778-1852) and Rai Sanyô (1780-1832). Kyôu was typical of literati painters who were active during the last days of the Edo period (1615-1868).
","id":"cobas-5886","lastUpdatedDate":1787588140545,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B290","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["江戸時代","Edo"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B290/image/slideshow_s/18823_difile2-L.jpg"],"title":"梅花老屋図","titleEn":"Scholar's Hermitage in Plum Blossoms","titleYomi":"バイカロウヤズ"},"id":"cobas-5886","rdfindex":{"type":["絵画"]},"cobas-0-s":"5886","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B290","cobas-2-s":"A甲90","cobas-4-s":"絵画","cobas-5-s":"梅花老屋図","cobas-6-s":"バイカロウヤズ","cobas-7-s":"1幅","cobas-8-s":"帆足杏雨","cobas-9-s":"日本","cobas-11-s":"江戸時代","cobas-13-s":"縦171.1cm:横71.5cm","cobas-14-s":"「慶應丙寅春一月望後二月製梅花老屋図併題幽居四時雑咏首之一豊後杏雨村＊者帆足遠」・白文方形「＊遠之印」 朱文方形「杏雨＊画」 白文方形「半農」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"杏雨（1810～1884）は、豊後出身の南画家で、同郷の田能村竹田に師事して、画風も竹田に似た細緻な表現の山水図が多い。史詩を帆足万里や頼山陽に学んだ。
幕末文人画のひとりの典型的な人物といってよいであろう。
Kyôu (1810-84) from the province of Bungo (present-day Ôita Prefecture) was a southern-style painter who studied under Tanomura Chikuden (1777-1835), who was also a native of Bungo. Many of Kyôu's landscape paintings resemble Chikuden's style. He learned Chinese epic poetry from Hoashi Banri (1778-1852) and Rai Sanyô (1780-1832). Kyôu was typical of literati painters who were active during the last days of the Edo period (1615-1868).
","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%B2904/image/slideshow_s/54061_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-5054","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2904","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2904/image/slideshow_s/54061_difile2-L.jpg"],"title":"筆供養図巻","titleEn":"Fude Kuyo, A Memorial for Paint Brushes","titleYomi":"フデクヨウズカン"},"id":"cobas-5054","rdfindex":{"type":["絵画"]},"cobas-0-s":"5054","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2904","cobas-2-s":"A甲904","cobas-4-s":"絵画","cobas-5-s":"筆供養図巻","cobas-6-s":"フデクヨウズカン","cobas-7-s":"1巻","cobas-8-s":"富岡鉄斎","cobas-9-s":"日本","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%B2904/image/slideshow_s/54061_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"21606","cobas-22-s":"5054","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Fude Kuyo, A Memorial for Paint Brushes","cobas-34-s":"Tomioka Tessai","cobas-42-s":"Kyoto National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2508/image/slideshow_s/94311_difile2-L.jpg"],"contributor":["青木木米","京都国立博物館 Kyoto National Museum"],"database":"cobas","dclass":"751","id":"cobas-2355","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2508","ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2508/image/slideshow_s/94311_difile2-L.jpg"],"title":"白泥涼炉","titleYomi":"ハクデイリョウロ"},"id":"cobas-2355","rdfindex":{"type":["陶磁"]},"cobas-0-s":"2355","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2508","cobas-2-s":"G甲508","cobas-4-s":"陶磁","cobas-5-s":"白泥涼炉","cobas-6-s":"ハクデイリョウロ","cobas-7-s":"1個","cobas-8-s":"青木木米","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2508/image/slideshow_s/94311_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"13816","cobas-22-s":"2355","cobas-29-s":"工芸"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/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/kyohaku/A%E7%94%B2247/image/slideshow_s/276556_difile4-L.jpg"],"contributor":["岡田半江","Okada Hanko","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-5716","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2247","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%B2247/image/slideshow_s/276556_difile4-L.jpg"],"title":"江村烟雨図","titleEn":"Misty Rain Over River 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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-12098/image/slideshow_s/A-12098_A-12098-02.jpg"],"contributor":["田能村竹田筆","By Tanomura Chikuden (1777–1835)","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"914","description":"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.
祇園南海は江戸時代中期の儒者、漢詩人です。詩文・書画いずれにもすぐれ、詩は新井白石・梁田蛻巌＠やなだぜいがん＠と並び賞されました。画は柳沢淇園＠やなぎさわきえん＠や池大雅に影響を与えるなど、文人画の先駆者の一人ともされます。本作は中国唐時代の杜甫＠とほ＠の詩「月圓」を揮毫＠きごう＠したものです。
","id":"cobas-57421","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-2338","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・18世紀","Edo period, 18th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-2338/image/slideshow_s/B-2338_E0199160.jpg"],"title":"五言律詩","titleEn":"Poem","titleYomi":"ごごんりっし"},"id":"cobas-57421","rdfindex":{"temporal":["江戸時代"],"type":["書跡"]},"cobas-0-s":"57421","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-2338","cobas-2-s":"B-2338","cobas-4-s":"書跡","cobas-5-s":"五言律詩","cobas-6-s":"ごごんりっし","cobas-7-s":"1幅","cobas-8-s":"祇園南海筆","cobas-11-s":"江戸時代・18世紀","cobas-12-s":"紙本墨書","cobas-13-s":"本紙 縦120.2 横26.3","cobas-15-s":"小室貞四郎氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"祇園南海は江戸時代中期の儒者、漢詩人です。詩文・書画いずれにもすぐれ、詩は新井白石・梁田蛻巌＠やなだぜいがん＠と並び賞されました。画は柳沢淇園＠やなぎさわきえん＠や池大雅に影響を与えるなど、文人画の先駆者の一人ともされます。本作は中国唐時代の杜甫＠とほ＠の詩「月圓」を揮毫＠きごう＠したものです。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-2338/image/slideshow_s/B-2338_E0199160.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"32219","cobas-22-s":"57421","cobas-31-s":"Calligraphy","cobas-32-s":"Poem","cobas-34-s":"By Gion Nankai (1676–1751)","cobas-37-s":"Edo period, 18th century","cobas-38-s":"Ink on paper","cobas-41-s":"Gift of Mr. Komuro Teishirō","cobas-42-s":"Tokyo National Museum"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12312/image/slideshow_s/A-12312_C0082612.jpg"],"contributor":["田能村竹田筆","By Tanomura Chikuden (1777–1835)","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","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)
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.