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.
「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 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.
","id":"cobas-5645","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2288","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["江戸時代・18世紀","Edo ・18th"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2288/image/slideshow_s/138215_difile3-L.jpg"],"title":"三ッ朝図","titleEn":"The Three Mornings","titleYomi":"ミツアサズ"},"id":"cobas-5645","rdfindex":{"type":["絵画"]},"cobas-0-s":"5645","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2288","cobas-2-s":"A甲288","cobas-4-s":"絵画","cobas-5-s":"三ッ朝図","cobas-6-s":"ミツアサズ","cobas-7-s":"1幅","cobas-8-s":"与謝蕪村","cobas-9-s":"日本","cobas-11-s":"江戸時代・18世紀","cobas-13-s":"縦102.1cm:横28.3cm","cobas-14-s":"「夜半翁」・白文方形 「＊墨生痕」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"「三朝」とは、一年の朝、一月の朝、元旦の朝を意味している。図上の自筆の文にもあるように、おそらく晩年に近いある年の詠い初め（うたいぞめ）の俳画である。夢中に現われた翁の姿であるが、一種の自画像と見なすこともできる。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2288/image/slideshow_s/138215_difile3-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"746","cobas-22-s":"5645","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"The Three Mornings","cobas-34-s":"Yosa Buson","cobas-37-s":"Edo ・18th","cobas-39-s":"Height102.1cm:Width28.3cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"The three mornings refers to the first morning of the year, the first morning of the first month, and the morning of New Year's day. As is indicated in the inscription by Yosa Buson (1716-83) at the top of the scroll, it was the first haiga (poetry painting) made on a New Year's day in his declining years. Although it is said that the elderly man depicted in the scroll is a person who appeared to Buson in a dream, we might also assume that it is a portrait of Buson himself.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/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.
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.
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-178288","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12492","ownerOrg":"nich","provider":"tnm","temporal":["明治～大正時代・19～20世紀","Meiji–Taishō era, 19th–20th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12492/image/slideshow_s/A-12492_E0157020.jpg"],"title":"松芝不老図","titleEn":"Pine Tree and Lingzhi Mushrooms of Immortality","titleYomi":"しょうしふろうず"},"id":"cobas-178288","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.
"},{"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%B2111/image/slideshow_s/147_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","id":"cobas-5885","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2111","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%B2111/image/slideshow_s/147_difile1-L.jpg"],"title":"初秋山水図","titleEn":"Early Autumn 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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%B2100/image/slideshow_s/87_difile2-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","id":"cobas-5904","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2100","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%B2100/image/slideshow_s/87_difile2-L.jpg"],"title":"秋景山水図","titleEn":"Autumn 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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%B2676/image/slideshow_s/3512_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","id":"cobas-5447","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2676","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%B2676/image/slideshow_s/3512_difile3-L.jpg"],"title":"倣銭貢山水図","titleEn":"Landscape, After Jian Gong","titleYomi":"ホウセンコウサンスイズ"},"id":"cobas-5447","rdfindex":{"type":["絵画"]},"cobas-0-s":"5447","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2676","cobas-2-s":"A甲676","cobas-4-s":"絵画","cobas-5-s":"倣銭貢山水図","cobas-6-s":"ホウセンコウサンスイズ","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113.2cm:横133.8cm","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%B2676/image/slideshow_s/3512_difile3-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"7769","cobas-22-s":"5447","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Landscape, After Jian Gong","cobas-34-s":"Yosa Buson","cobas-37-s":"Edo ・18th","cobas-39-s":"Height113.2cm:Width133.8cm","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/kyohaku/G%E7%94%B2510/image/slideshow_s/94306_difile2-L.jpg"],"contributor":["青木木米","京都国立博物館 Kyoto National Museum"],"database":"cobas","dclass":"751","id":"cobas-2357","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2510","ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2510/image/slideshow_s/94306_difile2-L.jpg"],"title":"三島手急須","titleYomi":"ミシマデキュウス"},"id":"cobas-2357","rdfindex":{"type":["陶磁"]},"cobas-0-s":"2357","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2510","cobas-2-s":"G甲510","cobas-4-s":"陶磁","cobas-5-s":"三島手急須","cobas-6-s":"ミシマデキュウス","cobas-7-s":"1個","cobas-8-s":"青木木米","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2510/image/slideshow_s/94306_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"13820","cobas-22-s":"2357","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%B2285/image/slideshow_s/1613_difile2-L.jpg"],"contributor":["富岡鉄斎","Tomioka Tessai","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"database":"cobas","dclass":"721","id":"cobas-5661","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2285","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["明治時代・19世紀","Meiji ・19th"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2285/image/slideshow_s/1613_difile2-L.jpg"],"title":"畝傍山御陵図","titleEn":"Imperial Tomb at Mount Unebi","titleYomi":"ウネビヤマゴリョウヅ"},"id":"cobas-5661","rdfindex":{"type":["絵画"]},"cobas-0-s":"5661","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2285","cobas-2-s":"A甲285","cobas-4-s":"絵画","cobas-5-s":"畝傍山御陵図","cobas-6-s":"ウネビヤマゴリョウヅ","cobas-7-s":"1幅","cobas-8-s":"富岡鉄斎","cobas-9-s":"日本","cobas-11-s":"明治時代・19世紀","cobas-13-s":"縦126.4cm:横42.5cm","cobas-14-s":"百錬謹写・「鉄」「斎」（白文）","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2285/image/slideshow_s/1613_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"743","cobas-22-s":"5661","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Imperial Tomb at Mount Unebi","cobas-34-s":"Tomioka Tessai","cobas-37-s":"Meiji ・19th","cobas-39-s":"Height126.4cm:Width42.5cm","cobas-42-s":"Kyoto National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2586/image/slideshow_s/20137_difile1-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-5472","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2586","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%B2586/image/slideshow_s/20137_difile1-L.jpg"],"title":"四君子詩画器局","titleEn":"Box with Poetry and Paintings of Plum, Bamboo, Orchids, and Chrysanthemums","titleYomi":"シクンシシガキキョク"},"id":"cobas-5472","rdfindex":{"type":["絵画"]},"cobas-0-s":"5472","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2586","cobas-2-s":"A甲586","cobas-4-s":"絵画","cobas-5-s":"四君子詩画器局","cobas-6-s":"シクンシシガキキョク","cobas-7-s":"1基","cobas-8-s":"富岡鉄斎","cobas-9-s":"日本","cobas-11-s":"江戸時代","cobas-13-s":"縦36.3cm:横36.2cm","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%B2586/image/slideshow_s/20137_difile1-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"1026","cobas-22-s":"5472","cobas-29-s":"絵画:中国:花木","cobas-31-s":"Painting","cobas-32-s":"Box with Poetry and Paintings of Plum, Bamboo, Orchids, and Chrysanthemums","cobas-34-s":"Tomioka Tessai","cobas-37-s":"Edo","cobas-39-s":"Height36.3cm:Width36.2cm","cobas-42-s":"Kyoto National Museum","cobas-46-s":"Paintings, sketches, and prints:China:Flowers and plants"},{"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":1780935782457,"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%B2324/image/slideshow_s/22195_difile1-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-5625","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2324","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["明治時代","Meiji"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2324/image/slideshow_s/22195_difile1-L.jpg"],"title":"竹石図","titleEn":"Bamboo and Rock","titleYomi":"チクセキズ"},"id":"cobas-5625","rdfindex":{"type":["絵画"]},"cobas-0-s":"5625","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2324","cobas-2-s":"A甲324","cobas-4-s":"絵画","cobas-5-s":"竹石図","cobas-6-s":"チクセキズ","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98.6cm:横59.4cm: 203cm","cobas-14-s":"「鉄斎外史」・「無倦」（朱文方印）\n「 」（冠冒）","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%B2324/image/slideshow_s/22195_difile1-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"780","cobas-22-s":"5625","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Bamboo and Rock","cobas-34-s":"Tomioka Tessai","cobas-37-s":"Meiji","cobas-39-s":"Height98.6cm:Width59.4cm 203cm","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/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":1780935782457,"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/kyohaku/A%E7%94%B246/image/slideshow_s/838_difile2-L.jpg"],"contributor":["池大雅","Ike no Taiga (Ike Taiga)","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":"この屏風は、宝暦十年（1760）、池大雅（1723～76）が友人の高芙蓉・韓天壽とともに、富士山・立山・白山の三山に登った折のメモ帖を貼り交ぜたもので、色々な物の値段などが細かく記されており、江戸時代の旅行記としても貴重である。
","descriptionEn":"This folding screen is composed of sketches by Ike Taiga (1723-76) and his friends, the Confucian scholar Kô Fuyô (1722-84) and writer Kan Tenju (1727-95), when they climbed three mountains, Mount Fuji, Tateyama, and Hakusan, in 1760. The sketches on notepaper were later pasted onto this screen. Various details, such as the price of items encountered along their hike, are recorded, making this work noteworthy both as an interesting painting as well as a travelogue from the Edo period (1616-1867).
","id":"cobas-5802","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B246","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%B246/image/slideshow_s/838_difile2-L.jpg"],"title":"三岳紀行図","titleEn":"Travelogue of Three Mountains","titleYomi":"サンガクキコウズ"},"id":"cobas-5802","rdfindex":{"type":["絵画"]},"cobas-0-s":"5802","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B246","cobas-2-s":"A甲46","cobas-4-s":"絵画","cobas-5-s":"三岳紀行図","cobas-6-s":"サンガクキコウズ","cobas-7-s":"8曲1隻","cobas-8-s":"池大雅","cobas-9-s":"日本","cobas-11-s":"江戸時代","cobas-13-s":"縦90.5cm:横42cm","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"この屏風は、宝暦十年（1760）、池大雅（1723～76）が友人の高芙蓉・韓天壽とともに、富士山・立山・白山の三山に登った折のメモ帖を貼り交ぜたもので、色々な物の値段などが細かく記されており、江戸時代の旅行記としても貴重である。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B246/image/slideshow_s/838_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"346","cobas-22-s":"5802","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Travelogue of Three Mountains","cobas-34-s":"Ike no Taiga (Ike Taiga)","cobas-37-s":"Edo","cobas-39-s":"Height90.5cm:Width42cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"This folding screen is composed of sketches by Ike Taiga (1723-76) and his friends, the Confucian scholar Kô Fuyô (1722-84) and writer Kan Tenju (1727-95), when they climbed three mountains, Mount Fuji, Tateyama, and Hakusan, in 1760. The sketches on notepaper were later pasted onto this screen. Various details, such as the price of items encountered along their hike, are recorded, making this work noteworthy both as an interesting painting as well as a travelogue from the Edo period (1616-1867).
","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-11348/image/slideshow_s/A-11348_C0042827.jpg"],"contributor":["富岡鉄斎筆","By Tomioka Tessai (1836–1924)","清荒神清澄寺寄贈","Gift of Kiyoshikōjin Seichōji Temple, Hyōgo","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"726","description":"邇邇芸命(ににぎのみこと)が高天原から降るとき、高天原と葦原の中つ国との間にあった天(あま)の八衢(やちまた)で、猿田彦神(さるたひこのみこと)が先頭に立って道案内した『古事記』の神話に拠る作品。猿田彦神の右には、彼の名を明かした天宇受賣命（アメノウズメ）が描かれています。
邇邇芸命(ににぎのみこと)が高天原から降るとき、高天原と葦原の中つ国との間にあった天(あま)の八衢(やちまた)で、猿田彦神(さるたひこのみこと)が先頭に立って道案内した『古事記』の神話に拠る作品。猿田彦神の右には、彼の名を明かした天宇受賣命（アメノウズメ）が描かれています。
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.
玉堂は49歳で武士の勤めを辞め、翌年、２人の息子春琴・秋琴とともに備中（岡山県）鴨方藩を脱藩しました。遺品の大半は脱藩後ですが、本作は数少ない仕官中の、しかも玉堂としては珍しく絹に描いた作品で、画風形成途上の48歳の基準作として貴重です。(や しゅんきん しゅうきん びっちゅう かもがたはん)
","descriptionEn":"The eminent literati painter Gyokudō (1745–1820) painted this work at age 48, just a year before he retired as a public official. Most of the work that he left behind after his passing are from after he retired, making this a rare example from when he was still active in public life. It was also unusual for him to paint on silk.
","id":"cobas-159336","lastUpdatedDate":1780935782457,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12356","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・寛政4年(1792)","Edo period, 1792"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12356/image/slideshow_s/A-12356_A-12356-02.jpg"],"title":"山中結廬図","titleEn":"A Poet's Mountain Retreat","titleYomi":"さんちゅうけつろず"},"id":"cobas-159336","rdfindex":{"temporal":["江戸時代"],"type":["絵画"]},"cobas-0-s":"159336","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-12356","cobas-2-s":"A-12356","cobas-3-s":"重要文化財","cobas-4-s":"絵画","cobas-5-s":"山中結廬図","cobas-6-s":"さんちゅうけつろず","cobas-7-s":"1幅","cobas-8-s":"浦上玉堂筆","cobas-11-s":"江戸時代・寛政4年(1792)","cobas-12-s":"絹本墨画淡彩","cobas-13-s":"65.4×32.1","cobas-16-s":"東京国立博物館","cobas-17-h":"玉堂は49歳で武士の勤めを辞め、翌年、２人の息子春琴・秋琴とともに備中（岡山県）鴨方藩を脱藩しました。遺品の大半は脱藩後ですが、本作は数少ない仕官中の、しかも玉堂としては珍しく絹に描いた作品で、画風形成途上の48歳の基準作として貴重です。(や しゅんきん しゅうきん びっちゅう かもがたはん)
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-12356/image/slideshow_s/A-12356_A-12356-02.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"179257","cobas-22-s":"159336","cobas-29-s":"絵画:日本:近世絵画","cobas-30-s":"Important Cultural Property","cobas-31-s":"Painting","cobas-32-s":"A Poet's Mountain Retreat","cobas-34-s":"By Urakami Gyokudō (1745–1820)","cobas-37-s":"Edo period, 1792","cobas-38-s":"Ink and light color on silk","cobas-42-s":"Tokyo National Museum","cobas-43-h":"The eminent literati painter Gyokudō (1745–1820) painted this work at age 48, just a year before he retired as a public official. Most of the work that he left behind after his passing are from after he retired, making this a rare example from when he was still active in public life. It was also unusual for him to paint on silk.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"}]}