画面左上に「春山欲雨 玉堂」と記し、これから雨が降りそうな春山を描いています。60代前半頃の作品と考えられ、息子である春琴による識語+しきご+が付属しています。玉堂の特徴である、横に長い米点+べいてん+を用いてリズミカルに山と樹葉を描いた、独創的な水墨作品です。
Gyokudō's work is characterized by an expressive, rythmical quality created through an overlay of short horizontal strokes on diluted planes of lighter ink. He may have achieved this eccentric brushwork through a good dose of alcohol.
画面左上に「春山欲雨 玉堂」と記し、これから雨が降りそうな春山を描いています。60代前半頃の作品と考えられ、息子である春琴による識語+しきご+が付属しています。玉堂の特徴である、横に長い米点+べいてん+を用いてリズミカルに山と樹葉を描いた、独創的な水墨作品です。
Gyokudō's work is characterized by an expressive, rythmical quality created through an overlay of short horizontal strokes on diluted planes of lighter ink. He may have achieved this eccentric brushwork through a good dose of alcohol.
杏雨（1810～1884）は、豊後出身の南画家で、同郷の田能村竹田に師事して、画風も竹田に似た細緻な表現の山水図が多い。史詩を帆足万里や頼山陽に学んだ。
幕末文人画のひとりの典型的な人物といってよいであろう。
Kyôu (1810-84) from the province of Bungo (present-day Ôita Prefecture) was a southern-style painter who studied under Tanomura Chikuden (1777-1835), who was also a native of Bungo. Many of Kyôu's landscape paintings resemble Chikuden's style. He learned Chinese epic poetry from Hoashi Banri (1778-1852) and Rai Sanyô (1780-1832). Kyôu was typical of literati painters who were active during the last days of the Edo period (1615-1868).
","contributor":["帆足杏雨","Hoashi Kyo'u","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["江戸時代","Edo"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"5886","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B290","cobas-2-s":"A甲90","cobas-4-s":"絵画","cobas-5-s":"梅花老屋図","cobas-6-s":"バイカロウヤズ","cobas-7-s":"1幅","cobas-8-s":"帆足杏雨","cobas-9-s":"日本","cobas-11-s":"江戸時代","cobas-13-s":"縦171.1cm:横71.5cm","cobas-14-s":"「慶應丙寅春一月望後二月製梅花老屋図併題幽居四時雑咏首之一豊後杏雨村＊者帆足遠」・白文方形「＊遠之印」 朱文方形「杏雨＊画」 白文方形「半農」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-17-h":"杏雨（1810～1884）は、豊後出身の南画家で、同郷の田能村竹田に師事して、画風も竹田に似た細緻な表現の山水図が多い。史詩を帆足万里や頼山陽に学んだ。
幕末文人画のひとりの典型的な人物といってよいであろう。
Kyôu (1810-84) from the province of Bungo (present-day Ôita Prefecture) was a southern-style painter who studied under Tanomura Chikuden (1777-1835), who was also a native of Bungo. Many of Kyôu's landscape paintings resemble Chikuden's style. He learned Chinese epic poetry from Hoashi Banri (1778-1852) and Rai Sanyô (1780-1832). Kyôu was typical of literati painters who were active during the last days of the Edo period (1615-1868).
","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-5053","common":{"id":"cobas-5053","title":"寇先図","titleYomi":"コウセンズ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2902","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2902/image/slideshow_s/53974_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2902/image/slideshow_s/53974_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["与謝蕪村","京都国立博物館 Kyoto National Museum"],"temporal":["江戸時代 中期 ・18世紀"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"5053","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2902","cobas-2-s":"A甲902","cobas-4-s":"絵画","cobas-5-s":"寇先図","cobas-6-s":"コウセンズ","cobas-7-s":"1幅","cobas-8-s":"与謝蕪村","cobas-9-s":"日本","cobas-11-s":"江戸時代 中期 ・18世紀","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2902/image/slideshow_s/53974_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"21604","cobas-22-s":"5053","cobas-29-s":"絵画:日本:近世絵画"},{"id":"cobas-5626","common":{"id":"cobas-5626","title":"福内鬼外図","titleEn":"In with Good Fortune! Out with the Demons!","titleYomi":"フクワウチオニワソトズ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2325","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2325/image/slideshow_s/211673_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2325/image/slideshow_s/211673_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["富岡鉄斎","Tomioka Tessai","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["明治時代","Meiji"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"5626","cobas-1-u":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2325","cobas-2-s":"A甲325","cobas-4-s":"絵画","cobas-5-s":"福内鬼外図","cobas-6-s":"フクワウチオニワソトズ","cobas-7-s":"1幅","cobas-8-s":"富岡鉄斎","cobas-9-s":"日本","cobas-11-s":"明治時代","cobas-13-s":"縦48.2cm:横59.8cm: 153cm","cobas-14-s":"「鉄斎」・朱文方形瓢印 「鉄叟」","cobas-16-s":"京都国立博物館 Kyoto National Museum","cobas-18-u":"https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2325/image/slideshow_s/211673_difile2-L.jpg","cobas-19-s":"kyohaku","cobas-20-s":"94cc071c58058a06910f6fac69566a0d","cobas-21-s":"781","cobas-22-s":"5626","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"In with Good Fortune! Out with the Demons!","cobas-34-s":"Tomioka Tessai","cobas-37-s":"Meiji","cobas-39-s":"Height48.2cm:Width59.8cm 153cm","cobas-42-s":"Kyoto National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-5895","common":{"id":"cobas-5895","title":"松陵下舟図","titleEn":"Boats Sailing Below Pine Cliffs","titleYomi":"ショウリョウカセンズ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2110","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2110/image/slideshow_s/117_difile1-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2110/image/slideshow_s/117_difile1-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"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.
","contributor":["帆足杏雨","Hoashi Kyo'u","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["江戸時代","Edo"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"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"},{"id":"cobas-38848","common":{"id":"cobas-38848","title":"扇面画類聚","titleEn":"Collection of Fan Paintings","titleYomi":"せんめんがるいじゅう","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-1385","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-1385/image/slideshow_s/A-1385_E0028303.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-1385/image/slideshow_s/A-1385_E0028303.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["池大雅・与謝蕪村等筆","By Ikeno Taiga (1723-76)・Yosa Buson (1716-83), and others","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・18世紀","Edo period, 18th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"cobas-0-s":"38848","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-1385","cobas-2-s":"A-1385","cobas-4-s":"絵画","cobas-5-s":"扇面画類聚","cobas-6-s":"せんめんがるいじゅう","cobas-7-s":"2幅・4枚","cobas-8-s":"池大雅・与謝蕪村等筆","cobas-11-s":"江戸時代・18世紀","cobas-16-s":"東京国立博物館","cobas-18-u":"https://colbase.nich.go.jp/media/tnm/A-1385/image/slideshow_s/A-1385_E0028303.jpg","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"2761","cobas-22-s":"38848","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Collection of Fan Paintings","cobas-34-s":"By Ikeno Taiga (1723-76)・Yosa Buson (1716-83), and others","cobas-37-s":"Edo period, 18th century","cobas-42-s":"Tokyo National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-178263","common":{"id":"cobas-178263","title":"幽谿帰驢図","titleEn":"Returning Donkey in a Secluded Valley","titleYomi":"ゆうけいきろず","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12495","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12495/image/slideshow_s/A-12495_E0164482.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12495/image/slideshow_s/A-12495_E0164482.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"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.
","contributor":["青木木米筆","By Aoki Mokubei (1767–1833)","大橋真有子氏寄贈","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・文政12年(1829)","Edo period, 1829"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"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.
"},{"id":"cobas-38839","common":{"id":"cobas-38839","title":"明和南宗画帖","titleEn":"Album of Southern School Paintings","titleYomi":"めいわなんしゅうがじょう","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-1373","contentsType":"image","contentsRightsType":"ccby","contentsAccess":"not_exist","category":["cultural","art"],"contributor":["田能村竹田、加藤文麗、池大雅、他筆","By Tanomura Chikuden, Kato Bunrei, Ikeno Taiga, and others","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・18～19世紀","Edo period, 18 -19th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"cobas-0-s":"38839","cobas-1-u":"https://colbase.nich.go.jp/collection_items/tnm/A-1373","cobas-2-s":"A-1373","cobas-4-s":"絵画","cobas-5-s":"明和南宗画帖","cobas-6-s":"めいわなんしゅうがじょう","cobas-7-s":"2帖","cobas-8-s":"田能村竹田、加藤文麗、池大雅、他筆","cobas-11-s":"江戸時代・18～19世紀","cobas-12-s":"紙本及絹本著色","cobas-16-s":"東京国立博物館","cobas-19-s":"tnm","cobas-20-s":"12f08f3c06a62af80737925634848303","cobas-21-s":"2744","cobas-22-s":"38839","cobas-29-s":"絵画:日本:近世絵画","cobas-31-s":"Painting","cobas-32-s":"Album of Southern School Paintings","cobas-34-s":"By Tanomura Chikuden, Kato Bunrei, Ikeno Taiga, and others","cobas-37-s":"Edo period, 18 -19th century","cobas-38-s":"Color on paper and silk","cobas-42-s":"Tokyo National Museum","cobas-46-s":"Paintings, sketches, and prints:Japan:Early modern paintings"},{"id":"cobas-5627","common":{"id":"cobas-5627","title":"扇面社頭松図","titleEn":"Pines on Fan","titleYomi":"センメンシャトウショウズ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2326","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2326/image/slideshow_s/22196_difile1-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2326/image/slideshow_s/22196_difile1-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["富岡鉄斎","Tomioka Tessai","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["明治時代","Meiji"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"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"},{"id":"cobas-5447","common":{"id":"cobas-5447","title":"倣銭貢山水図","titleEn":"Landscape, After Jian Gong","titleYomi":"ホウセンコウサンスイズ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2676","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2676/image/slideshow_s/3512_difile3-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2676/image/slideshow_s/3512_difile3-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["与謝蕪村","Yosa Buson","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["江戸時代・18世紀","Edo ・18th"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"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"},{"id":"cobas-2355","common":{"id":"cobas-2355","title":"白泥涼炉","titleYomi":"ハクデイリョウロ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/G%E7%94%B2508","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2508/image/slideshow_s/94311_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/G%E7%94%B2508/image/slideshow_s/94311_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"contributor":["青木木米","京都国立博物館 Kyoto National Museum"],"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"751"},"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"},{"id":"cobas-47685","common":{"id":"cobas-47685","title":"兎道朝暾図","titleEn":"Morning View of Uji River","titleYomi":"うじちょうとんず","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-11191","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-11191/image/slideshow_s/A-11191_E0014904.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-11191/image/slideshow_s/A-11191_E0014904.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"木米は江戸時代後期を代表する文人画家・陶工。本作は鮮やかな淡彩と墨の濃淡、渇筆で宇治を描いた木米の代表作です。画面中央には宇治川が流れ、右に平等院鳳凰堂、左には宇治橋がみえます。描かれた人物が、いずれも中国人物として表現されていることにも注目です。
山間から、画面左に向かって湾曲しながら川が流れています。川面に浮かんだ一艘の舟が向かう先には、人物が橋を渡っています。橋の周辺には紅葉が色づき、秋の景色のようです。こんもりと丸みを帯びた山や、さまざまな筆のタッチを細かく使って描かれた木々は、まるでうごめく生き物のようで、わき上がるような生命力を感じさせます。
タイトルにある「兎道（うじ）」とは、お茶の産地として有名な京都の宇治の古い表記です。画面右下、宇治川がカーブするあたりで木々に囲まれているのが平等院です。「朝暾（ちょうとん）」とは、朝日のこと。秋の朝の、澄んだ空気を感じさせるのどかな風景です。
作者の木米の本名は青木八十八（やそはち）。中国の南宗画の影響を受けた南画家・池大雅を慕っていました。そのせいか、画中の人物が中国風に表現されているのも特徴的です。
A river arcs through the mountains and flows to the left, its surface only disturbed by a solitary boat. Further down, a man crosses a bridge. The red-hued leaves around the bridge suggest an autumn scene. The detailed depiction of the trees is achieved using a variety of brush strokes. The trees and the rounded mountains seem to writhe upwards with the vigor of living creatures.
The 'Uji' of the title is a famous tea-growing region in Kyoto. A temple surrounded by trees sits toward the bottom right, close to where Uji River curves around. This is Byodoin Temple, now listed as a World Heritage Site. This tranquil scene is infused with the crisp air of an autumn morning.
Mokubei was a great admirer of Ike no Taiga, a painter influenced by a style of Chinese literati painting called nanshuga. Perhaps this explains the painting's characteristic Chinese-style figures.
木米は江戸時代後期を代表する文人画家・陶工。本作は鮮やかな淡彩と墨の濃淡、渇筆で宇治を描いた木米の代表作です。画面中央には宇治川が流れ、右に平等院鳳凰堂、左には宇治橋がみえます。描かれた人物が、いずれも中国人物として表現されていることにも注目です。
山間から、画面左に向かって湾曲しながら川が流れています。川面に浮かんだ一艘の舟が向かう先には、人物が橋を渡っています。橋の周辺には紅葉が色づき、秋の景色のようです。こんもりと丸みを帯びた山や、さまざまな筆のタッチを細かく使って描かれた木々は、まるでうごめく生き物のようで、わき上がるような生命力を感じさせます。
タイトルにある「兎道（うじ）」とは、お茶の産地として有名な京都の宇治の古い表記です。画面右下、宇治川がカーブするあたりで木々に囲まれているのが平等院です。「朝暾（ちょうとん）」とは、朝日のこと。秋の朝の、澄んだ空気を感じさせるのどかな風景です。
作者の木米の本名は青木八十八（やそはち）。中国の南宗画の影響を受けた南画家・池大雅を慕っていました。そのせいか、画中の人物が中国風に表現されているのも特徴的です。
A river arcs through the mountains and flows to the left, its surface only disturbed by a solitary boat. Further down, a man crosses a bridge. The red-hued leaves around the bridge suggest an autumn scene. The detailed depiction of the trees is achieved using a variety of brush strokes. The trees and the rounded mountains seem to writhe upwards with the vigor of living creatures.
The 'Uji' of the title is a famous tea-growing region in Kyoto. A temple surrounded by trees sits toward the bottom right, close to where Uji River curves around. This is Byodoin Temple, now listed as a World Heritage Site. This tranquil scene is infused with the crisp air of an autumn morning.
Mokubei was a great admirer of Ike no Taiga, a painter influenced by a style of Chinese literati painting called nanshuga. Perhaps this explains the painting's characteristic Chinese-style figures.
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.
","contributor":["浦上玉堂筆","By Urakami Gyokudō (1745–1820)","水島篤子氏寄贈","Gift of Ms. Mizushima Atsuko","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・18～19世紀","Edo period, 18th–19th century"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"728"},"rdfindex":{"type":["書跡"],"temporal":["江戸時代"]},"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.
"},{"id":"cobas-159336","common":{"id":"cobas-159336","title":"山中結廬図","titleEn":"A Poet's Mountain Retreat","titleYomi":"さんちゅうけつろず","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12356","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12356/image/slideshow_s/A-12356_A-12356-02.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12356/image/slideshow_s/A-12356_A-12356-02.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"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.
","contributor":["浦上玉堂筆","By Urakami Gyokudō (1745–1820)","東京国立博物館","Tokyo National Museum"],"temporal":["江戸時代・寛政4年(1792)","Edo period, 1792"],"provider":"tnm","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"],"temporal":["江戸時代"]},"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"},{"id":"cobas-4721","common":{"id":"cobas-4721","title":"煙霞帖","titleEn":"Sketches of Nature","titleYomi":"エンカジョウ","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/kyohaku/A%E7%94%B2381","thumbnailUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2381/image/slideshow_s/26046_difile2-L.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/kyohaku/A%E7%94%B2381/image/slideshow_s/26046_difile2-L.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":"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.
","contributor":["田能村竹田","Tanomura Chikuden","京都国立博物館 Kyoto National Museum","Kyoto National Museum"],"temporal":["江戸時代 後期 ・19世紀","Edo Late・19th"],"location":["日本"],"coordinates":{"lat":36.459651947021484,"lon":138.01820373535156},"provider":"京都国立博物館 Kyoto National Museum","ownerOrg":"nich","database":"cobas","apiType":"ok","access":"PUBLIC","dclass":"721"},"rdfindex":{"type":["絵画"]},"cobas-0-s":"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"},{"id":"cobas-48378","common":{"id":"cobas-48378","title":"葡萄図","titleEn":"Grapes","titleYomi":"ぶどうず","lastUpdatedDate":1778519423930,"linkUrl":"https://colbase.nich.go.jp/collection_items/tnm/A-12101","thumbnailUrl":["https://colbase.nich.go.jp/media/tnm/A-12101/image/slideshow_s/A-12101_A-12101-02.jpg"],"contentsUrl":["https://colbase.nich.go.jp/media/tnm/A-12101/image/slideshow_s/A-12101_A-12101-02.jpg"],"contentsType":"image","contentsRightsType":"ccby","contentsAccess":"internet","category":["cultural","art"],"description":" 乱舞し絡［から］まる葡萄。画家の内面を映すかのように、筆さばきは強く激しい。水戸藩士の杏所は、藩主から夫人の養母への作画を求められ、自分は職業画家ではないと拒否、豪飲して描いた。左下に「沈酔［ちんすい］」（酔いつぶれ）の語がみえる。武士の覚悟が伝わる名作だ。
画面いっぱいに、葡萄の実や蔓（つる）、大きな葉が力強く描かれています。よく見るとモノクロではなく、墨と藍の2色が使われていて、それによって立体感や奥行きが感じられるようです。墨がにじんだ微妙なグラデーションの葉には葉脈が透けてみえます。ところどころかすれた線や、藍色のしぶきが飛んだように表された部分など、ダイナミックな勢いを感じさせます。作者はどんなふうに、この絵を描いたのでしょうか。
作者の立原杏所（たちはらきょうしょ）は水戸藩の武士でした。藩主・徳川斉昭（なりあき）から、宴席で人々の前で絵を描くことを求められましたが、自分は職業画家ではなく、あくまで武士であるといって、決死の覚悟で拒否をしました。そして大酒をあおり、翌日、藩主の前でまだ酔いののこった状態で、この絵を描いたといわれています。本来は緻密で正確な絵を描くことができる画家が、藩主との緊迫した関係のもと、この激しい作品をのこしたことに、武士の覚悟が感じられるようです。
The screen is bursting with powerful depictions of grapes, vines, and large leaves. It may seem monochrome at first glance, but a closer look reveals how the artist has used two colors, black ink and indigo, to engender a sense of three-dimensionality and depth. Smudged black ink has created subtle gradations on leaves lined with veins. The painting exudes a sense of dynamism, from the coarse lines scattered throughout to the spatters of indigo-colored spray. So how did the artist paint this vigorous work?
The painter, Tachihara Kyosho, was a samurai who lived in the Mito domain, or present-day Ibaraki prefecture. The domain's ruler, Tokugawa Nariaki, asked him to paint before diners at a banquet. Prepared for the worst, Kyosho refused, saying he was a warrior, not a professional painter. He is said to have drunk heavily that day, and painted this work before the ruler the following day while still intoxicated. Kyosho was actually capable of producing precise, meticulously-observed paintings, but this fierce work, painted under duress from his feudal lord, seems to be imbued with the spirit of samurai resolve.
乱舞し絡［から］まる葡萄。画家の内面を映すかのように、筆さばきは強く激しい。水戸藩士の杏所は、藩主から夫人の養母への作画を求められ、自分は職業画家ではないと拒否、豪飲して描いた。左下に「沈酔［ちんすい］」（酔いつぶれ）の語がみえる。武士の覚悟が伝わる名作だ。
画面いっぱいに、葡萄の実や蔓（つる）、大きな葉が力強く描かれています。よく見るとモノクロではなく、墨と藍の2色が使われていて、それによって立体感や奥行きが感じられるようです。墨がにじんだ微妙なグラデーションの葉には葉脈が透けてみえます。ところどころかすれた線や、藍色のしぶきが飛んだように表された部分など、ダイナミックな勢いを感じさせます。作者はどんなふうに、この絵を描いたのでしょうか。
作者の立原杏所（たちはらきょうしょ）は水戸藩の武士でした。藩主・徳川斉昭（なりあき）から、宴席で人々の前で絵を描くことを求められましたが、自分は職業画家ではなく、あくまで武士であるといって、決死の覚悟で拒否をしました。そして大酒をあおり、翌日、藩主の前でまだ酔いののこった状態で、この絵を描いたといわれています。本来は緻密で正確な絵を描くことができる画家が、藩主との緊迫した関係のもと、この激しい作品をのこしたことに、武士の覚悟が感じられるようです。
The screen is bursting with powerful depictions of grapes, vines, and large leaves. It may seem monochrome at first glance, but a closer look reveals how the artist has used two colors, black ink and indigo, to engender a sense of three-dimensionality and depth. Smudged black ink has created subtle gradations on leaves lined with veins. The painting exudes a sense of dynamism, from the coarse lines scattered throughout to the spatters of indigo-colored spray. So how did the artist paint this vigorous work?
The painter, Tachihara Kyosho, was a samurai who lived in the Mito domain, or present-day Ibaraki prefecture. The domain's ruler, Tokugawa Nariaki, asked him to paint before diners at a banquet. Prepared for the worst, Kyosho refused, saying he was a warrior, not a professional painter. He is said to have drunk heavily that day, and painted this work before the ruler the following day while still intoxicated. Kyosho was actually capable of producing precise, meticulously-observed paintings, but this fierce work, painted under duress from his feudal lord, seems to be imbued with the spirit of samurai resolve.
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.