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.
「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":1784564090464,"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-11191/image/slideshow_s/A-11191_E0014904.jpg"],"contributor":["青木木米筆","By Aoki Mokubei (1767–1833)","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"914","description":"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.
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.
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":1784564090464,"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"},{"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%B290/image/slideshow_s/18823_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","description":"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":1784564090464,"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%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 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.
","id":"cobas-5582","lastUpdatedDate":1784564090464,"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/kyohaku/A%E7%94%B2367/image/slideshow_s/19823_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-5590","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2367","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%B2367/image/slideshow_s/19823_difile1-L.jpg"],"title":"売飴翁・社日酔民図","titleEn":"The Candy Seller and Drunken Men","titleYomi":"バイトウオウ・シャニチスイミンズ"},"id":"cobas-5590","rdfindex":{"type":["絵画"]},"cobas-0-s":"5590","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2367","cobas-2-s":"A甲367","cobas-4-s":"絵画","cobas-5-s":"売飴翁・社日酔民図","cobas-6-s":"バイトウオウ・シャニチスイミンズ","cobas-7-s":"2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94.9cm:横48.8cm","cobas-14-s":"「乙亥三月鉄氏頑民」「鉄史」・「寧爲眞士夫不爲假道学」（朱文）「鉄史」（白文）「以道窯欲則心自清」（白文）「嬾生」（白文）「鉄斎」（朱文）「介干石」（朱文）","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%B2367/image/slideshow_s/19823_difile1-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"818","cobas-22-s":"5590","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"The Candy Seller and Drunken Men","cobas-34-s":"Tomioka Tessai","cobas-37-s":"Meiji ・19th","cobas-39-s":"Height94.9cm:Width48.8cm","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%B2110/image/slideshow_s/35953_difile2-L.jpg"],"contributor":["青木木米","Aoki Mokubei","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"database":"cobas","dclass":"751","id":"cobas-2809","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2110","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/G%E7%94%B2110/image/slideshow_s/35953_difile2-L.jpg"],"title":"白磁鳳凰浮文茶銚（急須）","titleEn":"Tea Pot with Phoenixes in Relief","titleYomi":"ハクジホウオウウキモンチャチョウ(キュウス)"},"id":"cobas-2809","rdfindex":{"type":["陶磁"]},"cobas-0-s":"2809","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2110","cobas-2-s":"G甲110","cobas-4-s":"陶磁","cobas-5-s":"白磁鳳凰浮文茶銚（急須）","cobas-6-s":"ハクジホウオウウキモンチャチョウ(キュウス)","cobas-7-s":"1個","cobas-8-s":"青木木米","cobas-11-s":"江戸時代・19世紀","cobas-13-s":"高13.5cm:胴径9.5cm:底径 5.6cm","cobas-14-s":"蓋裏に「木米」の小判印あり","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%B2110/image/slideshow_s/35953_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"4570","cobas-22-s":"2809","cobas-29-s":"工芸","cobas-31-s":"Ceramics","cobas-32-s":"Tea Pot with Phoenixes in Relief","cobas-34-s":"Aoki Mokubei","cobas-37-s":"Edo ・19th","cobas-39-s":"Height13.5cmThickness9.5cmBase diameter 5.6cm","cobas-42-s":"Kyoto National Museum","cobas-46-s":"Applied arts"},{"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 Lotus Pond in the Summer constitute a pair of hanging scrolls.
","id":"cobas-5895","lastUpdatedDate":1784564090464,"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/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.
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/kyohaku/A%E7%94%B2354/image/slideshow_s/26750_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":"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).
","id":"cobas-5604","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2354","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%B2354/image/slideshow_s/26750_difile3-L.jpg"],"title":"倣王蒙山水図","titleEn":"Landscape, After Wang Meng","titleYomi":"ホウオウモウサンスイズ"},"id":"cobas-5604","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"},{"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":1784564090464,"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 Landscape","titleYomi":"ショシュウサンスイズ"},"id":"cobas-5885","rdfindex":{"type":["絵画"]},"cobas-0-s":"5885","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2111","cobas-2-s":"A甲111","cobas-4-s":"絵画","cobas-5-s":"初秋山水図","cobas-6-s":"ショシュウサンスイズ","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170.8cm:横71.2cm","cobas-14-s":"「慶應紀元歳在乙丑小春上浣写併題幽居四時雅咏首之一杏雨村来者遠」・朱文方形 「杏雨＊画」 白文方形 「＊遠之印」","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%B2111/image/slideshow_s/147_difile1-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"105","cobas-22-s":"5885","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Early Autumn Landscape","cobas-34-s":"Hoashi Kyo'u","cobas-37-s":"Edo","cobas-39-s":"Height170.8cm:Width71.2cm","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%B2534/image/slideshow_s/317680_difile4-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":"松尾芭蕉（一六四四～九四）の俳諧紀行文『奥の細道』の全文を与謝蕪村（一七一六～八三）が書写し、これに関連する絵を添えたもの。旅する芭蕉と門人の曾良、そして二人が行く先々で出会った人々の姿などが、簡潔ながら実に生き生きと描かれている。若き日の蕪村は、東北地方を放浪し、芭蕉の足跡をたどるほど、この偉大なる先人を思慕していた。蕪村独特のスタイルによる書と、軽妙な挿図の見事な調和がこのうえなく魅力的な作品である。
","descriptionEn":"The text comes from the famous travelogue Oku no hosomichi by the haiku poet Matsuo Bashō (1644–1694). It describes the poet’s epic journey on foot through north-eastern Japan and was written in form of verse and prose. For this set of handscrolls, Buson copied its text and added his own illustrations.
","id":"cobas-5505","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2534","location":["日本"],"ownerOrg":"nich","provider":"京都国立博物館 Kyoto National Museum","temporal":["江戸時代 中期 ・18世紀","Edo Mid-term・18th"],"thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2534/image/slideshow_s/317680_difile4-L.jpg"],"title":"奥之細道図","titleEn":"Oku no Hosomichi (The Narrow Road through the Provinces)","titleYomi":"オクノホソミチズ"},"id":"cobas-5505","rdfindex":{"type":["絵画"]},"cobas-0-s":"5505","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2534","cobas-2-s":"A甲534","cobas-3-s":"重要文化財","cobas-4-s":"絵画","cobas-5-s":"奥之細道図","cobas-6-s":"オクノホソミチズ","cobas-7-s":"2巻","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-13-s":"29.2cm:31cm","cobas-14-s":"下巻の末「安永戌冬十一月寫於 平安城南夜半亭旦畫 六十三翁蕪村」・白文方形 「謝長庚」 白文方形 「謝春星」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"松尾芭蕉（一六四四～九四）の俳諧紀行文『奥の細道』の全文を与謝蕪村（一七一六～八三）が書写し、これに関連する絵を添えたもの。旅する芭蕉と門人の曾良、そして二人が行く先々で出会った人々の姿などが、簡潔ながら実に生き生きと描かれている。若き日の蕪村は、東北地方を放浪し、芭蕉の足跡をたどるほど、この偉大なる先人を思慕していた。蕪村独特のスタイルによる書と、軽妙な挿図の見事な調和がこのうえなく魅力的な作品である。
","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2534/image/slideshow_s/317680_difile4-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"980","cobas-22-s":"5505","cobas-29-s":"絵画:日本:近世絵画","cobas-30-s":"Important Cultural Property","cobas-31-s":"Painting","cobas-32-s":"Oku no Hosomichi (The Narrow Road through the Provinces)","cobas-34-s":"Yosa Buson","cobas-37-s":"Edo Mid-term・18th","cobas-39-s":"29.2cm31cm","cobas-42-s":"Kyoto National Museum","cobas-43-h":"The text comes from the famous travelogue Oku no hosomichi by the haiku poet Matsuo Bashō (1644–1694). It describes the poet’s epic journey on foot through north-eastern Japan and was written in form of verse and prose. For this set of handscrolls, Buson copied its text and added his own illustrations.
","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-1118/image/slideshow_s/A-1118_C0100264.jpg"],"contributor":["立原杏所筆","By Tachihara Kyosho (1785-1840)","東京国立博物館","Tokyo National Museum"],"database":"cobas","dclass":"721","id":"cobas-38631","lastUpdatedDate":1784564090464,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-1118","ownerOrg":"nich","provider":"tnm","temporal":["江戸時代・文化12年(1815)","Edo period, dated 1815 (Bunka 12)"],"thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-1118/image/slideshow_s/A-1118_C0100264.jpg"],"title":"山水図","titleEn":"Ladscape","titleYomi":"さんすいず"},"id":"cobas-38631","rdfindex":{"temporal":["江戸時代"],"type":["絵画"]},"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"},{"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"}]}