著者

中谷 伸生

出版者

関西大学博物館

雑誌

関西大学博物館紀要 (ISSN:13414895)

巻号頁・発行日

no.9, pp.136-146, 2003-03-31

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平成十四(二〇〇二)年度建仁寺久昌院の建築及び障壁画の調査研究報告〈論文・資料紹介〉

著者

中谷 伸生

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.13, pp.31-57, 2020-03-31

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The Portrait of Kimura Kenkado (owned by Osaka Prefectural Board of Education) was painted by TANI Buncho (1763-1841) in 1802. The grinning expression of KIMURA Kenkado (1736-1802) in the painting is unusual among East Asian portraits before the nineteenth century. The main questions addressed in this paper are : 1) the issue of the forgery of Kenkado's paintings, especially of his mid-career works, 2) the influence of ITO Jakuchu on the shifting style of Kenkado, and 3) the question of why Kenkado's later paintings adopted a more realistic mode of representation. Lastly, this paper will suggest the possibility that Kenkado's bereaved family specifically requested Buncho to paint the portrait of Kenkado with a smile. It is also argued that Buncho, as a close acquaintance and admirer of Kenkado, painted the portrait with a similar intent to his family.

著者

中谷 伸生

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.6, pp.27-41, 2013-03-27

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This paper discusses artistic modification and the cultural relationship of the traditional Japanese style of paintings compared with those of the East Asian world including China by presenting, as an example, some humorous pictures (called "Giga" in Japanese) drawn by Nicyosai, who was known as one of the leading caricature artists during the Edo period. China, however, has hardly any humorous paintings such as caricatures, and no comparison of Giga with Chinese paintings can be given here. In other words, this study sheds light on a new aspect of arts reflecting the characteristics of Japanese paintings within the framework of East Asian arts, and the author discusses some specific problems of art history entailing a two-way approach of works-oriented and method-oriented approaches. The author also reviews works by Nicyosai and evaluates such works to examine if the caricatures drawn by Nicyosai are truly the traditional Japanese style of paintings.

著者

中谷 伸生

出版者

南島史学会

雑誌

南島史学 = Journal of Ryukyuan studies (ISSN:03896846)

巻号頁・発行日

no.89, pp.21-38, 2021-11

著者

中谷 伸生

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

no.7, pp.37-51, 2014-03

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文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点東アジアの言語と表象The "Orchid Pavilion(Lanting 蘭亭)" is a beautiful landscape garden in China where a historically famous gathering called the "Lantei no Utage(蘭亭の宴)" (making-poetly banquet at the stream in a garden) was held by Wang Xizhi(王義之), the great Chinese calligrapher. The Chinese theme of Lanting associated with the creation of calligraphy became one of the most popular painting themes in Japan during the Edo period. The gathering took place on the third day of the third month, the Ninth Year of the Everlasting Harmony(永和)Period of the Eastern Jin(東晋)Dynasty(i.e.,353 CE). A Chinese painting of the "Orchid Pavilion Paintings"(蘭亭曲水図)refers to this gathering in a pictorial form. According to Chronicles of Japan(日本書紀巻2: Nihon Shoki in the 2nd Volume), certain documents describe "Kyokusui no Utage"(曲水の宴: literally, riverside banquet as a court ceremony), which was held on March 3rd, Joshi(上巳), when Emperor Kenzo was in the first year of his accession. However, this historical fact has not been verified. Eventually, in the Heian period, the "Kyokusui no Utage" was held as an annual event of poetry festivals in the lmperial Court sponsored by the Emperor. This paper discusses the major works of the "Orchid Pavilion Paintings" (蘭亭図)by Uragami Shunkin(浦上春琴), who was a Japanese painter of the late Edo period, and the painting theme of Orchid Pavilion is also considered for discussion. Furthermore, this paper analyzes how the distinct iconography of "Lanting" originated in China was introduced to Japan and accepted by Japanese painters throughout artistic changes or cultural transfbrmation over the years. Last but not least,the Wang Xizhi's spirit seen in his "Preface to the Orchid Pavilion Poems" (蘭亭序)should be worthy of special attention, although his preface was totally inappropriate on pleasant occasions such as a banquet. His immortal preface goes: Although the span of men's life may be longer or shorter, the sad thing is that all must end in death. People are moved with Shunkin's paintings entitled "Orchid Pavilion Paintings", which reveal beauty in transforming things instead of eternal beings.

著者

金田 千秋 加藤 哲弘 島本 浣 山田 俊幸 及川 智早 佐藤 守弘 石田 あゆう 岸 文和 前川 修 中谷 伸生 橋爪 節也 鈴木 廣之 太田 孝彦 石田 美紀

出版者

筑波大学

雑誌

基盤研究(B)

巻号頁・発行日

2008

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本研究は、大正期に流通していた大衆的な視覚表象に関する2つの課題を、豊かな対話関係において、遂行するものである。すなわち、第1の課題は、大衆的な視覚表象が果たしていたメディア的な機能の多様性を、可能な限り広範な資料に基づいて、美術史学的に明らかにすることである。第2の課題は、「文化遺産」の概念を鍛え上げることによって、何らかの大衆的イメージが後世に継承される/るべきさいの条件・方法などを、美学的に考察することである。

著者

中谷 伸生

出版者

関西大学博物館

雑誌

関西大学博物館紀要 (ISSN:13414895)

巻号頁・発行日

vol.15, pp.86-91, 2009-03-31

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平成二十(二〇〇八)年度 日本及び東洋美術史の調査研究報告〈資料紹介〉

著者

中谷 伸生

出版者

關西大學文學會

雑誌

關西大學文學論集 (ISSN:04214706)

巻号頁・発行日

vol.67, no.3, pp.61-79, 2017-12-30

著者

中谷 伸生

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.48, pp.1-29, 2015-04-01

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Nichosai was a painter of giga (humorous pictures) probably born before 1751 (Horeki 1), active during the Annei (1772–81) and the Kyowa (1801–04)periods, and thought to have died in either 1802 (Kyowa 2) or 1803 (Kyowa 3). His artistry had matured by the Kansei period (1789–1801). The hanpon (woodblock-printed illustrated books) Nichosai was involved with have been the subject of previous research by Hida Kozo, yet his research was comparatively brief. In this paper, the author discusses the illustrations Nichosai made for these books, a topic that has as yet received little attention from scholars, focusing on the unique characteristics of his style. Nichosai published four works of hanpon while he was alive, and two more were published immediately after his death. In addition, he drew occasional illustrations for various other books, and with Hida's introduction to work as a guide, this paper will touch briefly on the development of Nichosai's book illustrations. This will help elucidate the development of Nichosai's style as a book illustrator, and deepen our understanding of its relationship to his giga.

著者

中谷伸生著

出版者

関西大学出版部

巻号頁・発行日

2015

著者

中谷 伸生 平井 啓修

出版者

関西大学博物館

雑誌

関西大学博物館紀要 (ISSN:13414895)

巻号頁・発行日

vol.17, pp.97-114, 2011-03-31

著者

中谷 伸生

出版者

関西大学博物館

雑誌

関西大学博物館紀要 (ISSN:13414895)

巻号頁・発行日

vol.14, pp.25-36, 2008-03-31

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平成十九(二〇〇七)年度 日本及び東洋美術の調査研究報告

著者

中谷 伸生

出版者

関西大学博物館

雑誌

関西大学博物館紀要 (ISSN:13414895)

巻号頁・発行日

vol.15, pp.86-91, 2009-03-31

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平成二十(二〇〇八)年度 日本及び東洋美術史の調査研究報告〈資料紹介〉

著者

中谷 伸生

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.12, pp.3-21, 2019-03-31

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Looking at paintings by Nagasawa Rosetsu, the so-called eccentric painter, one finds characteristics that seem to resemble those of Osaka painters centered around Kimura Kenkadō. As for relationships to Osaka, one could mention Rosetsu's profound connections to the Yodo Domain, which was well known for fostering cultural connections between Kyoto and Osaka. In other words, the creation of deep connections between Kyoto and Osaka artists was a characteristic of the Yodo Domain: all the way from Ike Taiga (1723-76) and Baisa'ō (1675-1763) to Shinozaki Shō chiku (1781-1851) and Hirose Kyokusō (1807-63). In addition, as for Resetsu's reception among Osaka painters, one might mention Nishiyama Hōen (1804-67), who learned from Rosetsu and came to represent the shasei school in Osaka. All in all, it becomes clear that the Osaka painting world had deep connections to Rosetsu and his works. Conversely, we cannot reject the possibility that Rosetsu was influenced by Osaka painters. If we look at the Mori School, including the Osaka painter Mori Sosen (1747-1821) known for painting monkeys, and Okada Beisanjin (1744-1820) whose humorous painting style bear similarities to that of Rosetsu, as well as the freakish paintings of Rin Ryōen (1740s-1780s), we can easily imagine contemporary connections to Rosetsu. In this paper, I would like to discuss Rosetsu, who both worked and died in Osaka, and try to come to a deeper understanding of the painter through a comparison between the so-called eccentric painting style of Rosetsu and those of the Osaka painting world.

著者

中谷 伸生

出版者

関西大学博物館

雑誌

関西大学博物館紀要 (ISSN:13414895)

巻号頁・発行日

vol.12, pp.94-132, 2006-03-31

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平成十七(二〇〇五)年度妙心寺及び建仁寺の調査報告書〈論文・資料紹介等〉

著者

中谷 伸生

出版者

美術フォーラム21刊行会

雑誌

美術フォーラム21

巻号頁・発行日

vol.23, pp.4-9, 2011

著者

中谷 伸生

出版者

関西大学博物館

雑誌

関西大学博物館紀要 (ISSN:13414895)

巻号頁・発行日

vol.14, pp.25-36, 2008-03-31

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平成十九(二〇〇七)年度 日本及び東洋美術の調査研究報告

著者

中谷 伸生

出版者

美術フォーラム21 ; 1999-

雑誌

美術フォーラム21 = Bijutsu forum 21

巻号頁・発行日

vol.32, pp.26-28, 2015

著者

中谷 伸生

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

no.9, pp.17-35, 2016-03

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東アジアの言語と表象文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点The paintinggs by Rin Ryoen, a painter in Osaka painting school (Osaka gadan), were influenced by the Kano school, the Shijo school, the literati paintings, the Nanbin school, and Western paintings, as well as Ming and Qing paintings. The range of his paintings is so diverse it is hard to encapsulate his entire collection in one phrase. Ryoen's multi-faceted collection typifies works by Osaka painters, who had the liberty of making art without worrying about the constraint of the relationship between a master and an apprentice. Unlike Edo and Kyoto art circles, which enforced strict master-apprentice relationship, Osaka painting school allowed painters to adopt painting styles beyond the boundaries of schools under more flexible master-apprentice relationship. Osaka painting school thus provided the ground for a broad spectrum of paintings like Ryoen's. If I were to choose a word that characterizes Ryoen's painting style that is consistent throughout his diverse collection, it would be "eccentric."

著者

中谷 伸生

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

vol.6, pp.27-41, 2013-03-27

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This paper discusses artistic modification and the cultural relationship of the traditional Japanese style of paintings compared with those of the East Asian world including China by presenting, as an example, some humorous pictures (called "Giga" in Japanese) drawn by Nicyosai, who was known as one of the leading caricature artists during the Edo period. China, however, has hardly any humorous paintings such as caricatures, and no comparison of Giga with Chinese paintings can be given here. In other words, this study sheds light on a new aspect of arts reflecting the characteristics of Japanese paintings within the framework of East Asian arts, and the author discusses some specific problems of art history entailing a two-way approach of works-oriented and method-oriented approaches. The author also reviews works by Nicyosai and evaluates such works to examine if the caricatures drawn by Nicyosai are truly the traditional Japanese style of paintings.