竹田は豊後（大分県）岡藩に儒者として仕え、37歳で隠居した後は、各地を旅し、親交を深めた友人たちと詩書画三昧の生活を送りました。本作は竹田51歳の時の作品で、長崎春徳寺の僧鉄翁に贈られたもの。竹田には珍しく、潤いのある米点を多用しています。
Chikuden served Oka Domain (now Oita Prefecture) as a Confucian scholar. After retiring at the age of 37, he traveled to various regions and enjoyed life by practicing painting, calligraphy, and music.
竹田は豊後（大分県）岡藩に儒者として仕え、37歳で隠居した後は、各地を旅し、親交を深めた友人たちと詩書画三昧の生活を送りました。本作は竹田51歳の時の作品で、長崎春徳寺の僧鉄翁に贈られたもの。竹田には珍しく、潤いのある米点を多用しています。
Chikuden served Oka Domain (now Oita Prefecture) as a Confucian scholar. After retiring at the age of 37, he traveled to various regions and enjoyed life by practicing painting, calligraphy, and music.
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-178263","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12495","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・文政12年(1829)","Edo period, 1829"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12495/image/slideshow_s/A-12495_E0164482.jpg"],"title":"幽谿帰驢図","titleEn":"Returning Donkey in a Secluded Valley","titleYomi":"ゆうけいきろず"},"id":"cobas-178263","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.
"},{"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.
浦上玉堂は、江戸時代後期の文人画家で、唐様の能書としても知られます。頼山陽、木村蒹葭堂＠けんかどう＠、田能村竹田＠たのむらちくでん＠らと交流をもちました。書き慣れた隷書体＠れいしょたい＠に、中国書法への憧れがうかがえます。
","descriptionEn":"Gyokudō (1745–1820) was a painter, literati and accomplished Chinese-style calligrapher. Here, his clerical script clearly demonstrates how he admired calligraphic styles from China. He was friends with Confucian scholars, such as Rai San'yō, Kimura Kenkadō, Tanomura Chikuden, and others.
","id":"cobas-57723","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/B-2932","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・18～19世紀","Edo period, 18th–19th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/B-2932/image/slideshow_s/B-2932_E0200042.jpg"],"title":"七言絶句","titleEn":"Poem","titleYomi":"しちごんぜっく"},"id":"cobas-57723","rdfindex":{"temporal":["江戸時代"],"type":["書跡"]},"cobas-0-s":"57723","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/B-2932","cobas-2-s":"B-2932","cobas-4-s":"書跡","cobas-5-s":"七言絶句","cobas-6-s":"しちごんぜっく","cobas-7-s":"1幅","cobas-8-s":"浦上玉堂筆","cobas-11-s":"江戸時代・18～19世紀","cobas-12-s":"紙本墨書","cobas-13-s":"本紙 縦28.5 横11.2","cobas-15-s":"水島篤子氏寄贈","cobas-16-s":"東京国立博物館","cobas-17-h":"浦上玉堂は、江戸時代後期の文人画家で、唐様の能書としても知られます。頼山陽、木村蒹葭堂＠けんかどう＠、田能村竹田＠たのむらちくでん＠らと交流をもちました。書き慣れた隷書体＠れいしょたい＠に、中国書法への憧れがうかがえます。
","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/B-2932/image/slideshow_s/B-2932_E0200042.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"33610","cobas-22-s":"57723","cobas-31-s":"Calligraphy","cobas-32-s":"Poem","cobas-34-s":"By Urakami Gyokudō (1745–1820)","cobas-37-s":"Edo period, 18th–19th century","cobas-38-s":"Ink on paper","cobas-41-s":"Gift of Ms. Mizushima Atsuko","cobas-42-s":"Tokyo National Museum","cobas-43-h":"Gyokudō (1745–1820) was a painter, literati and accomplished Chinese-style calligrapher. Here, his clerical script clearly demonstrates how he admired calligraphic styles from China. He was friends with Confucian scholars, such as Rai San'yō, Kimura Kenkadō, Tanomura Chikuden, and others.
"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-11892/image/slideshow_s/A-11892_C0087625.jpg"],"contributor":["浦上玉堂筆","By Urakami Gyokudō","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","description":" 花咲く木々の間を通り、柳の下を通るという題意。下方の橋上に人の姿。近景の背の高い木々が構図の要で、上方、山を扇状に構成する。玉堂は破天荒な画風が持ち味ながら、やや筆が走りすぎ。題右上の印は「酔郷」で飲酒作画であろうか。まさに魅力の酔墨画だ。
This uninhibited ink painting is by Urakami Gyokudo, a distinctive artist of the [Bunjinga] literati school who had an unprecedented style of painting.
","id":"cobas-48178","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-11892","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・19世紀","Edo period, 19th century"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-11892/image/slideshow_s/A-11892_C0087625.jpg"],"title":"穿花渡柳図","titleEn":"Passing under Flowering Trees and Willows","titleYomi":"せんかとりゅうず"},"id":"cobas-48178","rdfindex":{"temporal":["江戸時代"],"type":["絵画"]},"cobas-0-s":"48178","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-11892","cobas-2-s":"A-11892","cobas-4-s":"絵画","cobas-5-s":"穿花渡柳図","cobas-6-s":"せんかとりゅうず","cobas-7-s":"1幅","cobas-8-s":"浦上玉堂筆","cobas-11-s":"江戸時代・19世紀","cobas-12-s":"紙本墨画","cobas-13-s":"114.5×59.8","cobas-16-s":"東京国立博物館","cobas-17-h":" 花咲く木々の間を通り、柳の下を通るという題意。下方の橋上に人の姿。近景の背の高い木々が構図の要で、上方、山を扇状に構成する。玉堂は破天荒な画風が持ち味ながら、やや筆が走りすぎ。題右上の印は「酔郷」で飲酒作画であろうか。まさに魅力の酔墨画だ。
This uninhibited ink painting is by Urakami Gyokudo, a distinctive artist of the [Bunjinga] literati school who had an unprecedented style of painting.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Modern paintings"},{"common":{"access":"PUBLIC","apiType":"ok","category":["cultural","art"],"contentsAccess":"internet","contentsRightsType":"ccby","contentsType":"image","contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B291/image/slideshow_s/146_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-5884","lastUpdatedDate":1787588140545,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B291","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["江戸時代 後期 ・19世紀","Edo Late・19th"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B291/image/slideshow_s/146_difile2-L.jpg"],"title":"荷湖鎖夏図","titleEn":"Lotus Pond in the Summer","titleYomi":"カコショウカズ"},"id":"cobas-5884","rdfindex":{"type":["絵画"]},"cobas-0-s":"5884","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B291","cobas-2-s":"A甲91","cobas-4-s":"絵画","cobas-5-s":"荷湖鎖夏図","cobas-6-s":"カコショウカズ","cobas-7-s":"1幅","cobas-8-s":"帆足杏雨","cobas-9-s":"日本","cobas-11-s":"江戸時代 後期 ・19世紀","cobas-13-s":"縦171.1cm:横71.5cm","cobas-14-s":"「杏雨村＊者帆足遠」・白文方形「＊遠之印」 白文方形「半農」","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%B291/image/slideshow_s/146_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"104","cobas-22-s":"5884","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Lotus Pond in the Summer","cobas-34-s":"Hoashi Kyo'u","cobas-37-s":"Edo Late・19th","cobas-39-s":"Height171.1cm:Width71.5cm","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%B2326/image/slideshow_s/22196_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-5627","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2326","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%B2326/image/slideshow_s/22196_difile1-L.jpg"],"title":"扇面社頭松図","titleEn":"Pines on Fan","titleYomi":"センメンシャトウショウズ"},"id":"cobas-5627","rdfindex":{"type":["絵画"]},"cobas-0-s":"5627","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2326","cobas-2-s":"A甲326","cobas-4-s":"絵画","cobas-5-s":"扇面社頭松図","cobas-6-s":"センメンシャトウショウズ","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52.8cm:横16.2cm: 121cm","cobas-14-s":"「鉄斎」・「鉄」「斎」（朱文円印）","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%B2326/image/slideshow_s/22196_difile1-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"782","cobas-22-s":"5627","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Pines on Fan","cobas-34-s":"Tomioka Tessai","cobas-37-s":"Meiji","cobas-39-s":"Height52.8cm:Width16.2cm 121cm","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%B2387/image/slideshow_s/1712_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","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.
田能村竹田は豊後の国・岡藩の侍医の子。多くの文人画家のなかでも繊細な筆法および色彩は異彩を放つ。本画帖でもその特色は見事に発揮されており、すがすがしい画境がこころよい。なお、浦上玉堂も同題の画帖を制作している。
","descriptionEn":"Tanomura Chikuden (1777-1835) was the son of a doctor who was employed by the Oka clan of Bungo Province (present-day Ôita Prefecture). Among the great number of literati painters, his delicate brushwork and use of colors especially stand out. Such characteristics are finely displayed in this work as well, and the atmosphere of this painting conveys a refreshing feel to the viewer. Uragami Gyokudô (1745-1820) also produced sketches under the same title.
","id":"cobas-4721","lastUpdatedDate":1787588140545,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2381","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["江戸時代 後期 ・19世紀","Edo Late・19th"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2381/image/slideshow_s/26046_difile2-L.jpg"],"title":"煙霞帖","titleEn":"Sketches of Nature","titleYomi":"エンカジョウ"},"id":"cobas-4721","rdfindex":{"type":["絵画"]},"cobas-0-s":"4721","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2381","cobas-2-s":"A甲381","cobas-3-s":"重要美術品","cobas-4-s":"絵画","cobas-5-s":"煙霞帖","cobas-6-s":"エンカジョウ","cobas-7-s":"1帖","cobas-8-s":"田能村竹田","cobas-9-s":"日本","cobas-11-s":"江戸時代 後期 ・19世紀","cobas-13-s":"縦17.4cm:横9.8cm: 21.8cm","cobas-14-s":"「辛未首夏冩樹下深處 田憲」・白文連印 「田」「憲」 白文方形 「田竹」 白文方形 「＊＊」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"田能村竹田は豊後の国・岡藩の侍医の子。多くの文人画家のなかでも繊細な筆法および色彩は異彩を放つ。本画帖でもその特色は見事に発揮されており、すがすがしい画境がこころよい。なお、浦上玉堂も同題の画帖を制作している。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2381/image/slideshow_s/26046_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"830","cobas-22-s":"4721","cobas-29-s":"絵画:日本:近世絵画","cobas-30-s":"Important Art Object","cobas-31-s":"Painting","cobas-32-s":"Sketches of Nature","cobas-34-s":"Tanomura Chikuden","cobas-37-s":"Edo Late・19th","cobas-39-s":"Height17.4cm:Width9.8cm 21.8cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"Tanomura Chikuden (1777-1835) was the son of a doctor who was employed by the Oka clan of Bungo Province (present-day Ôita Prefecture). Among the great number of literati painters, his delicate brushwork and use of colors especially stand out. Such characteristics are finely displayed in this work as well, and the atmosphere of this painting conveys a refreshing feel to the viewer. Uragami Gyokudô (1745-1820) also produced sketches under the same title.
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"}]}