- 著者
-
小島 道裕
- 出版者
- 国立歴史民俗博物館
- 雑誌
- 国立歴史民俗博物館研究報告 (ISSN:02867400)
- 巻号頁・発行日
- vol.145, pp.317-347, 2008-11
京都とその周辺を描いた「洛中洛外図屏風」の内、室町期の景観を持つ「初期洛中洛外図屏風」四本は、大名上杉家に伝来した上杉本を除いて、制作事情が明らかでなかった。本稿では、屏風の中に「登場人物」と言える個人の像を検出することによって、その主題を明らかにし、初期洛中洛外図屏風全体についても統一的な理解を試みた。最も古い「歴博甲本」は、一五二五年に、室町幕府の実権を握っていた細川高国が、嫡子稙国への家督譲渡と新たな将軍御所の建設を契機として、自らの事績を描かせたものであり、作者は幕府御用絵師の狩野元信である。「東博模本」は、細川晴元の政権を中心主題として描いたものであり、「上杉本」は、細川氏の館を中心とする構図をそのまま用いながら、管領が細川氏から上杉氏に代わるというメッセージを表している。「歴博甲本」に始まる「権力者とその統治する都市」という主題の屏風は、その後も狩野派によって受け継がれていくが、「歴博乙本」にはそのような権力者を顕彰する主題は見いだしがたい。名所絵・風俗画として描かれたと考えられ、近世に量産される洛中洛外図屏風の先駆と位置づけられる。In the versions of "Rakuchu-Rakugai-Zu Byobu" (folding screens depicting scenes in and around Kyoto), except for the Uesugi version handed down in the Uesugi family of daimyo (feudal lords), the production background to the four early versions of "Rakuchu-Rakugai-Zu Byobu", which contain scenes of Muromachi Bakufu, had yet to be clarified. In this article, I clarified the works' themes by detecting within the folding screens the images of individuals that could be called "characters," and I have attempted to obtain a unified understanding of all early versions of Rakuchu-Rakugai-Zu Byobu.The oldest – the "Rekihaku A version" – was produced in 1525, when Hosokawa Takakuni, who was at the helm of the Muromachi Bakufu, had his achievements depicted by the Bakufu painter, Kano Motonobu, on the occasion of the transfer of responsibility for the family to his son Hosokawa Tanekuni, and the building of a new palace for the Shogun. The regime of Hosokawa Harumoto is depicted as the main theme in the "Tohaku replica," and in the "Uesugi version" and although the composition still has the Hosokawa residence at its center, there is an inscription stating that the office of the Kanrei (Shogun's Deputy) was taken over by the Uesugi family from the Hosokawa family.The theme of "the person in authority and the city ruled by him" first appears in the "Rekihaku A version" and was handed down in the Kano School; but themes that praise the authorities cannot be found in the "Rekihaku B version." The piece must therefore have been created as a landmark guide/genre painting, and can be identified as the pioneer of the Rakuchu-Rakugai-Zu Byobu commercially produced in early modern times.