著者

土屋 貴裕

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.403, pp.25-57, 2011-03-29

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The Tengu Sôshi is an illustrated handscroll thought to have been created in the 10th month of Ei'nin 4 (1296). The date inscription that reads "Ei'nin yonnen jûgatsu" is written in the foreword on the Kôfukuji scroll of the seven scrolls that constitute the Tengu Sôshi. Given the inscription, this set of scrolls is positioned as one of the basic works of late Kamakura period painting. However, the Tengu Sôshi indicates the existence of a source version that is now lost, and it is not clear whether this Ei'nin 4 date inscription refers to the production of the existing scrolls or to the reported source version. Thus, a reconsideration based on painting style is required. In terms of the painting style of the Tengu Sôshi, previous scholars have indicated that it was painted by a studio related to the imperial painting bureau. Given these factors, this article attempts a re-analysis based on the nature of the connection between this work and other Kamakura period paintings. First, the article presents the various previous discussionson the matter, and reconfirms the painting's art historical position. This positioning reconfirmed its extremely close stylistic connections to the mid-Kamakura period works that continued the style of Late Heian period court painting, seen in such works as the Heiji Monogatari Handscrolls and the Kōan version of the Kitano Tenjin Engi Handscrolls. Next, paintings with the same compositional style as the Tengu Sôshi were sought out. This resulted in the confirmation that the Tengu Sôshi is extremely close in compositional style to the Yugyô Shônin Engi Handscrolls. In particular, the detached segments of the Yugyó Shônin Engi Handscrolls, today in the Museum Yamato Bunkakan collection and a private collection, are thought highly likely to have been produced in the same workshop as the Tengu Sôshi. At the same time, the many extant versions of the Yugyó Shônin Engi Handscrolls are thought to have an expressive style that continues the style of the Tengu Sóshi. This fact suggests that it is highly likely that the source version of the Yugyô Shônin Engi Handscrolls was produced at the same workshop as the Tengu Sôshi. In other words, the Yugyô Shônin Engi Handscrolls fragments in the Yamato Bunkakan and the private collection are all from the source version of the Yugyo Shônin Engi Handscrolls. This analysis indicates some fascinating facts regarding painting production places in the late Kamakura period. In other words, the Yugyo Shônin Engi Handscrolls that feature the activities of the Jishû sect, whose patriarch was Ippen, and the Tengu Sóshi, whose contents criticize the activities ofIppen, were painted in the same workshop. The production site of the Tengu Sôshi was thus a painting workshop that did not differentiate between opposing sectarian stances. This stands as proof that the Tengu Sôshi was created in the one powerful painting studio of the late Kamakura period, namely the imperial court painting studio. This finding reconfirms the extremely important position of the painting studio of the Tengu Sôshi in considerations of painting production sites of the late Kamakura period.