音楽と楽器

A.W.Fr.キスター社,A.W.Fr.Kister GmbH,ライプツィヒ民族学博物館寄贈,Gift of Leipzig Museum of Ethnology,東京国立博物館,Tokyo National Museum

<p>　ルートヴィヒ・ヴァン・ベートーヴェン（1770～1827年）は、ボンで生まれ、ウィーンで活躍しました。苦悩の中から旋律を搾り出していく様が、苛立ちのこもったつま先に表現されています。天才肌のモーツァルトの像と対をなして制作されました。<br /></p>

東京国立博物館,Tokyo National Museum

<p>Depicted here is an illustration based on the [Hindol Raga], a piece of classical Indian music that celebrates the arrival of the rainy season. Hindol means swing, on which the Hindu god Krishna and his wife Radha sit in this painting.</p><br /><p>The art of “miniature painting” is one of India’s best-known genres. These paintings use elaborate brushwork and vibrant colors to depict a variety of themes, including: Indian myths; Hindu gods, such as Shiva and Vishnu; portraits of kings; scenes from history; and love stories. Miniature paintings can also be enjoyed for their distinct regional styles that reflect India’s rich history of cultural diversity.<br /><br />One form of Indian miniature painting is called Ragamala painting. Ragas are traditional melodies from northwestern India. Ragamala paintings depict the poetic stories of men and women that are told in those melodies. In this genre, men’s melodies are called raga, women’s melodies are called ragini, and melodies for their children are called ragaputra and ragaputri. This painting is an illustration of the Hindol Raga, a melody for a man. The word hindol means “swing.” <br /><br />The blue-skinned man is the Hindu god Krishna, the most widely revered deity in Hinduism. The woman beside Krishna is his wife Radha. The couple sit together lovingly on a swing. The surrounding women rock the swing for them and play a variety of musical instruments. In the background, rain clouds are depicted filling the sky.<br /><br />The Hindol Raga was originally a melody expressing joy at the arrival of the rainy season, but in the world of miniature painting that sentiment is expressed in combination with a tale of romance.</p>

狩野探幽（1602～74）筆,By Kanō Tan'yū (1602–74),東京国立博物館,Tokyo National Museum

<p>This is an example of a kasen-e, or a painting depicting famed historical poets of Japanese waka poems. These works feature portraits of the so-called immortal poets accompanied by their poems. This Album of the New Thirty-six Immortal Poets depicts 36 poets who were chosen by Emperor Gotoba during the Kamakura period. These are introduced across two booklets, known as the Right Booklet and the Left Booklet. Each two-page spread features a poet and one of their representative poems. With the Right Booklet, the poet is painted on the left page and the poem is written on the right page. This order is reversed in the Left Booklet. When the two booklets are lined up and the pages turned simultaneously, the poets appear to face each other across their respective poems. Perhaps the purpose was to create an imaginary poetry contest between the pair.<br /><br />This album was a gift from the Minister of the Right, a government official at the time, to his daughter, who was marrying into the shogunal family. The paintings are by Kano Tan'yu. He was active at the start of the Edo period and he became the first official painter of the Edo shogunate. The delicate, elegant depictions of the clothes, hair and facial expressions have been rendered using an elaborate color scheme. The poems were also written by renowned members of the nobility at that time. This magnificent, resplendent work was certainly a fitting gift for a shogunal wedding ceremony.</p>

東京国立博物館,Tokyo National Museum

<p>This is a seven-stringed instrument called a qin that was made in Tang China and brought to Japan during the Nara period in the 8th century. It is made of paulownia wood coated in black lacquer. The Japanese koto is an instrument with 13 strings, each of which has its own bridge, limiting each string to one note. With the qin however, the strings are pressed down with the fingers in different locations, making each string capable of producing a range of sounds. Embedded in the fingerboard of this qin are thirteen round pieces of shell that indicate where the strings are to be depressed. The piece that protrudes from one end is where the strings would be passed through and anchored, while the underside of the instrument has two sound holes that run parallel to the strings.<br />Inside the hollow body is an inscription in ink noting that the instrument was made near what is now Chengdu in Sichuan province in 724, when Emperor Xuanzong ruled Tang China. It is the oldest qin in the world for which both the time and place of manufacture are known, and so holds an extremely important place in the history of East Asian music.<br /></p><br /><p>A masterpiece of the Tang dynasty, this qin has an inscription in the hollow of its base revealing that it was created in 724 in the Pengzhou area of Sichuan Province. It is made of black-lacquered paulownia wood.</p>

わが国固有の弦楽器である倭琴のミニチュア品。祭祀において楽を奏するものを雛形化して幣帛としたものであろう。金銅製で、琴尾部の弦を掛ける突起が欠失しているが、琴頭部に5つの小孔が開いており、5つの琴柱も遺存していることから、本来、5本の弦が張られていたことがわかる。1枚の金銅板を折り曲げて上板と側板を1体で作り、金銅底板と金銅鋲で留めた「甲作り(断面がП形の共鳴槽を持つ)」の琴である。本品は、琴頭を鵄の尾のように台形状に作り出しており、『延喜式』に伊勢内宮神宝として記載されている鵄尾琴の前身にあたるものといわれる。現存する伊勢内宮神宝、鵄尾御琴とも形状が類似しており、律令祭祀の発現と継承を考える上で重要なものとなっている。

東京国立博物館,Tokyo National Museum

<p>この笙＠しょう＠は鈴虫＠すずむし＠という銘をもちます。笙は、木製の匏＠ほう＠というものの上部に十七本の竹管を立て、その下部に金属製の簧＠こう＠（リード）を付けて、匏の側面の吹口で息を吸ったり吐いたりして音を奏でる楽器です。本器は古いものとされていますが、補修が施されており、匏部は黒漆塗りにして薄と鈴虫を蒔絵で表わしています。</p>

石村直作,By Ishimura Tadashi,東京国立博物館,Tokyo National Museum

<p>This stringed instrument is made of rare imported woods such as cassia and rosewood and decorated with inlay of gold, silver, and ivory.<br /></p>