著者

今橋 理子

出版者

東海大学文学部

雑誌

東海大学紀要. 文学部 (ISSN:05636760)

巻号頁・発行日

no.65, pp.1-18,図10p, 1996-09

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During the last years of his life, Katsushika Hokusai (1760-1849), the most well known ukiyoe artist of the late Edo period, left us an original painting entitled Watermelon, now in the collection of the Imperial Household Agency. Over the years numerous researchers have assessed the unusual shape and composition of the watermelon in the painting as striking evidence of Hokusai's originality. However, I question whether this repeated assessment would have been made if Hokusai had not included his signature, which is clearly evident in the painting. Eastern paintings of vegetables and fruit are commonly known as "Vegetable drawings"(sosai-zu) and are considered as belonging to the broad category of fower-and-bird pictures. With a style far removed from that of traditional vegetable drawings, however, Hokusai's Watermelon evokes among viewers a feeling contrary to what they might have expected from such a painting. Eastern flower-and-bird paintings traditionally have something in them that allows a hidden meaning to be drawn out from animals or plants depicted. Similarly, we need to investigate whether or not the watermelon in Hokusai's painting-considering the unexpectedness of its style-is imbued with a hidden meaning. To corroborate my interpretation of Watermelon, I have made use of the painting entitled Tanabata by Sakai Hoitsu (1761-1828). Hoitsu's painting is not a portrayal of the modern-day Japanese celebration known as Tanabata, or Star Festival, but rather depicts Tanabata's predecessor, Kikkoden, a ceremony carried out by the imperial court beginning in the eighth century, which in turn had its origins in early China. Kikkoden combined astrology with the romance of the Milky Way-the love story of the Herdsman (in Japanese tradition, the star Altair in the constellation Aquila) and the Weaver (the star Vega in the constellation Lyra). Japanese paintings entitled Kikkoden are usually genre paintings portraying the full year's worth of ceremonies ; it was tacitly understood from early times that depictions of the Kikkoden or Tanabata festivals within these paintings would show a scene from the seventh lunar month, when these festivals were held. In Hoitsu's Tanabata, however, human figures, ordinarily found in genre paintings, are missing. Only string given in offering and a basin filled with water-two items symbolic of the climax of Kikkoden-are depicted. By extracting these two motifs from Kikkoden, Hoitsu turns them into symbols for the ceremony. When Hokusai's Watermelon is viewed once again, this time in light of this understanding of Hoitsu's work, the congruence between the two paintings is striking. Since watermelons were in early China and Japan an important item given as an offering during Kikkoden, the watermelon half and the long, thin rind in Hokusai's painting can be seen as corresponding exactly to Hoitsu's basin and string. Further, we can discover of a bit of the romanticism involved in how the Japanese, inheritors of the romance of the Milky Way story from China, have since the time of the Man'yoshu "borrowed" the heroes of that story in their own love poetry. Essentially, then, Hokusai's Watermelon is a genre painting in which Kikkoden is represented by a watermelon, and is a narrative painting of the romance of the Milky Way.

著者

今橋 理子

雑誌

学習院女子大学紀要

巻号頁・発行日

no.20, pp.11-28, 2018-03

著者

今橋 理子

出版者

学習院女子大学

雑誌

学習院女子大学紀要 (ISSN:13447378)

巻号頁・発行日

vol.3, pp.1-22, 2001

著者

今橋 理子

出版者

東海大学

雑誌

東海大学紀要. 文学部 (ISSN:05636760)

巻号頁・発行日

vol.66, pp.35-49, 1996

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Among the paintings left by Sakai Hoitsu (1760-1828), a late-Edo-period painter known for reviving the Rinpa (or Korin) school of painting in the city of Edo, is a singular work entitled Kannon (i.e., the bodhisattva Avalokitesvara). This work differs from the usual Oriental "white-robed Avalokitesvara" paintings in that Kannon is not shown holding in her hand either the standard lotus flower, or sprig of willow in a water jar. Rather, in front of her and to the viewer's right there appears a porcelain celadon vase in which five summer flowers - hollyhocks, pinks, lychnises, hydrangeas, and lilies - have been arranged. In contrast to india ink paintings of Kannon, the flowers in Hoitsu's work are richly colored, attracting and holding the viewer's gaze. It is known that the creation of Kannon was connected to the hundredth anniversary of the death of Ogata Korin (1658-1716). Korin was the prime mover behind the earlier flourishing of the Rinpa school and the painter most highly regarded by Hoitsu, who donated the work to Korin's family temple, Myoken-ji, in Kyoto, where it remains today. It has therefore traditionally been inferred that Hoitsu "arranged" the flowers in the vase in commemoration of Korin's death anniversary and that he used summer flowers because Korin died in June. What has never been clear, however, is why the five flowers noted above were chosen ; indeed, Hoitsu's Flowers in a Vase, painted for the same anniversary, contains the identical five kinds of flowers arranged in a water jar. Hoitsu obviously had a reason for selecting them. In my paper, I will attempt to discern what Hoitsu's intended meaning may have been. The particular flower or bird, or the particular combination of flowers and birds, found in an Oriental flower-and-bird painting ordinarily has an auspicious meaning associated with it, one that the members of the painter's audience will usually be able to identify owing to their shared cultural experience. No traditional, specific meaning, however, can be discerned in the combination of the five summer flowers in Hoitsu's two paintings. To unlock the meaning, I have investigated how the five flowers have been used in classical tanka and haiku poetry - in which Hoitsu himself was unusually well versed - beginning with the eighth-century Man'yoshu. For example, the combination of hollyhocks and lilies has traditionally meant, "We will meet in the next world" when it appears in classical poetry. I found other meanings for other groupings of the five flowers in question. In the course of my research it became clear that Hoitsu clearly did not use the five flowers merely to commemorate Korin's death in the summer ; being familliar with Japanese history and literature, Hoitsu put together his combination with scruplous care in order to express the meaning he desired. Another point of interest is that Korin was particularly fond of the hollyhock and, in fact, replaced his family crest with one depicting a stylized version of this flower. This helps explain why, in Hoitsu's two paintings, the hollyhock is placed highest in the shin position, the all-important central position in traditional flower arrangement. Modern critics tend to view the beautiful flower arrangements in the paintings of the Rinpa school, including the two works discussed here, as random combinations. This evaluation focuses on the beauty of the paintings' form, but essentially denies their interpretive value. However, I believe that the surprising hidden meanings woven into the paintings of the Rinpa school are one of the greatest sources of the paintings' appeal.

著者

今橋 理子

出版者

東海大学

雑誌

東海大学紀要. 文学部 (ISSN:05636760)

巻号頁・発行日

vol.66, pp.35-49, 1996

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Among the paintings left by Sakai Hoitsu (1760-1828), a late-Edo-period painter known for reviving the Rinpa (or Korin) school of painting in the city of Edo, is a singular work entitled Kannon (i.e., the bodhisattva Avalokitesvara). This work differs from the usual Oriental "white-robed Avalokitesvara" paintings in that Kannon is not shown holding in her hand either the standard lotus flower, or sprig of willow in a water jar. Rather, in front of her and to the viewer's right there appears a porcelain celadon vase in which five summer flowers - hollyhocks, pinks, lychnises, hydrangeas, and lilies - have been arranged. In contrast to india ink paintings of Kannon, the flowers in Hoitsu's work are richly colored, attracting and holding the viewer's gaze. It is known that the creation of Kannon was connected to the hundredth anniversary of the death of Ogata Korin (1658-1716). Korin was the prime mover behind the earlier flourishing of the Rinpa school and the painter most highly regarded by Hoitsu, who donated the work to Korin's family temple, Myoken-ji, in Kyoto, where it remains today. It has therefore traditionally been inferred that Hoitsu "arranged" the flowers in the vase in commemoration of Korin's death anniversary and that he used summer flowers because Korin died in June. What has never been clear, however, is why the five flowers noted above were chosen ; indeed, Hoitsu's Flowers in a Vase, painted for the same anniversary, contains the identical five kinds of flowers arranged in a water jar. Hoitsu obviously had a reason for selecting them. In my paper, I will attempt to discern what Hoitsu's intended meaning may have been. The particular flower or bird, or the particular combination of flowers and birds, found in an Oriental flower-and-bird painting ordinarily has an auspicious meaning associated with it, one that the members of the painter's audience will usually be able to identify owing to their shared cultural experience. No traditional, specific meaning, however, can be discerned in the combination of the five summer flowers in Hoitsu's two paintings. To unlock the meaning, I have investigated how the five flowers have been used in classical tanka and haiku poetry - in which Hoitsu himself was unusually well versed - beginning with the eighth-century Man'yoshu. For example, the combination of hollyhocks and lilies has traditionally meant, "We will meet in the next world" when it appears in classical poetry. I found other meanings for other groupings of the five flowers in question. In the course of my research it became clear that Hoitsu clearly did not use the five flowers merely to commemorate Korin's death in the summer ; being familliar with Japanese history and literature, Hoitsu put together his combination with scruplous care in order to express the meaning he desired. Another point of interest is that Korin was particularly fond of the hollyhock and, in fact, replaced his family crest with one depicting a stylized version of this flower. This helps explain why, in Hoitsu's two paintings, the hollyhock is placed highest in the shin position, the all-important central position in traditional flower arrangement. Modern critics tend to view the beautiful flower arrangements in the paintings of the Rinpa school, including the two works discussed here, as random combinations. This evaluation focuses on the beauty of the paintings' form, but essentially denies their interpretive value. However, I believe that the surprising hidden meanings woven into the paintings of the Rinpa school are one of the greatest sources of the paintings' appeal.

著者

今橋 理子 Riko Imahashi

出版者

学習院女子大学

雑誌

学習院女子大学紀要 = Bulletin of Gakushuin Women's College (ISSN:13447378)

巻号頁・発行日

no.22, pp.15-34, 2020-03

著者

今橋 理子 Riko Imahashi

出版者

学習院女子大学

雑誌

学習院女子大学紀要 = Bulletin of Gakushuin Women's College (ISSN:13447378)

巻号頁・発行日

no.3, pp.1-22, 2001-03-31

著者

今橋 理子 Riko Imahashi

出版者

学習院女子大学

雑誌

学習院女子大学紀要 = Bulletin of Gakushuin Women's College (ISSN:13447378)

巻号頁・発行日

no.24, pp.1-19, 2022-03

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2021年度科学研究費(基盤研究C)による研究成果の一部

著者

今橋 理子

出版者

東海大学文学部

雑誌

東海大学紀要 文学部 (ISSN:05636760)

巻号頁・発行日

no.64, pp.25-46,図10p, 1995

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Sakura paintings-paintings whose exclusive theme is cherry blossoms (sakura)-were first created in Kyoto by the Edo-period painter Mikuma Shiko (1730-94) and continued to be painted by Shiko's sister Roko (d.1801), his disciple Hirose Kain (dates unknown), and the female painter Oda Shitsushitsu(1789-1831), Roko's disciple. These works, which were already known by the term "sakura painting" at this early time, appear at first glance to be highly realistic, but also have a clean, well-rounded, lyrical quality. They seem to have been very well received by many people of the period. Unfortunately, however, Kain and Shitsushitsu left no disciples, so the brief genealogy of sakura paintings came to an end with the death of Shitsushitsu. Probably because this school of painting was so short-lived, no trace of any research on it exists, nor has a collection of the paintings been assembled. Indeed, the school itself has not been given a name. I would like to call the sakura-painting artists, from Mikuma Shiko to Oda Shitsushitsu, the Mikuma School. In my essay I will open with an analysis of the works of Mikuma Shiko and will consider how it came about that he began painting the unique type of flower-and-bird picture known as sakura paintings.The essay will also look at the reasons why, in the light of contemporary trends in natural history and Japanese classical studies, the Mikuma School painted cherry blossoms-this very traditional Japanese motif-to the exclusion of all other subject matter.Finally, the essay will consider chronologically the works of Oda Shitsushitsu, whose works are the most refined among those of the Mikuma school, and discuss the historical position of these works within the school.

著者

今橋 理子

出版者

学習院女子大学

雑誌

学習院女子大学紀要 (ISSN:13447378)

巻号頁・発行日

no.20, pp.11-28, 2018

著者

今橋 理子

出版者

東海大学

雑誌

東海大学紀要. 文学部 (ISSN:05636760)

巻号頁・発行日

vol.68, pp.58-68, 1997

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博物画のジャンルが美術史学上の考察対象であるという認識は、西洋美術史学上ではすでに歴史的な常識である.しかしながら日本美術史学上では、そうした常識はようやく10年ほど前から意識されるようになったばかりである.そのために日本の博物画の多くは、現在もいまだ美術史・美学的考察を与えられぬまま所蔵者の手元にあって、ひっそりと保管されているものが少なくない.こうした状況のために18、19世紀の江戸時代に制作された博物画が、同時代のヨーロッパの博物画と比較しても、その写実性は高水準であったという事実が、現代の欧米諸国には残念ながら知られていないという実情が存在する.江戸時代博物図譜の種類は、版本、肉筆本、抄訳本(翻訳本)の、大きく三つに分類することができる.このうち特に重要なのは肉筆本である.これらの作品の大半は大名たちの要請によって制作されたもので、美術品としての価値がとりわけ高い.本論考で取り扱う博物図譜はこの種のものである.大名の肉筆博物図譜には、植物・動物・魚介類など様々な種類が存在する.なかでも遺存数が目立って多いのが鳥類の図譜である.これらは数の上だけでなくその質の上において、獣や植物の図譜に比すると格別の出来になっている.なぜに江戸時代の鳥類図譜は特別な様相を見せたのか.本論考はこの疑問に答えるために、以下のような三つの視点から考察をすすめる.1)鳥と江戸時代大名の関係を考える上で、第一に問題となるのは、当時の「鷹狩」の習慣である.日本絵画の主題の一つとしても「鷹狩図」が存在するが、この種の絵画に対する検討は、ほとんど行われてきていない.「鷹狩図」は江戸時代では、掛け軸だけでなく、絵巻物や屏風、また室内を飾る襖絵にも描かれた.例えば久隅守景筆「鷹狩図屏風」は大画面の代表的な作例である.この屏風絵に描かれた内容は、当時の鷹狩制度を知ることによって、実はこと細かに「読む」ことができるのである.そこで本論ではとくに考察を試みることとする.2)江戸時代の鷹狩習慣については、"大名の娯楽"としてのイメージが一般に強いが、実は政治的「制度」として存在していた.しかしながら、1868年の大政奉還によって、千年以上の歴史を誇ってきたこの制度と伝統は完全に消え去り、同時にその文化的意義も人々の中から忘れられてしまったのである.本論では「鷹狩」の制度が江戸時代の文化に対して及ぼした影響-具体的にいえば、民衆の生活や芸術面、また科学に与えた意義について考察し、また鷹狩が儀礼や秩序を重んじる政治機構として働いていたことを紹介する。3)さらに興味深いことに、江戸時代の鷹狩制度は、「飼鳥」という特異な趣味を、大名にもたらすことになった.これは、18世紀における博物学隆盛の世界的風潮とも密接に関っていることは言うまでもない.大名たちは鷹狩の機会に珍しい鳥を見つけては生きたまま捕獲し、大切に城に持ち帰った.彼らはこれらを城内の鳥小屋で飼い、コレクションしたのである.さらに彼らは「鳥屋」と呼ばれる商店からも多くの鳥を買い上げた.「鳥屋」とは文字通り、鳥を商う商店のことを指したが、そこでは食肉用の鳥のほかに、高価な異国鳥、観賞用の鳥も扱っていた.私は、明治時代に発行されていた雑誌『風俗画報』に、同商に関する幕末当時の様子を報告した記述を見出したので、これを例示したい.この「飼鳥趣味」こそが、大名の鳥類図譜を突出させて完成度の高いものにしたのである.以上のような観点から、従来「花鳥画」という用語を用いて、簡単にひとまとめにされてきた江戸の「鳥を描いた絵画」は、その用語の枠を一度はずすことによって、「江戸時代鳥類芸術」という独立した言葉が与えられるほどに、新たな歴史的意味を持ち始めるのである.

著者

今橋 理子

出版者

学習院女子大学

雑誌

学習院女子大学紀要 (ISSN:13447378)

巻号頁・発行日

vol.4, pp.1-31, 2002

著者

今橋 理子

出版者

学術雑誌目次速報データベース由来

雑誌

國華 (ISSN:00232785)

巻号頁・発行日

vol.1141, pp.5-16, 1991