著者

日並 彩乃

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.3, pp.21-40, 2014-09-30

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The study of Reizei Tamechika’s Buddhist paintings is just as important as the study of his Fukko Yamato-e(restoration of Japanese painting). Fukko Yamato-e was a movement at the end of the Edo period, focused on the restoration of a traditional style of Japanese painting based on the masterpieces of the Heian and Kamakura eras. While Tamechika’s work is associated with the Kyokano area, he also produced many Buddhist paintings through his personal connection with Gankai. Tamechika also learned the archaic style of Buddhist painting of the Heian and Kamakura periods. However, seeing as Tamechika was born in Kyokano, it is possible that his Buddhist paintings were also influenced by his hometown. In this paper I will discuss the tradition of Yamato-e of the Kano school, from Sanraku to Eigaku and Eisho, and then Tamechika at the end of the Edo period. I wil also look at the changes that can be seen in Tamechika’s Buddhist painting.

著者

日並 彩乃

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.2, pp.81-105, 2013-12-01

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This work sets out Yamato-e of Kyo Kano. Fukko yamato-e did not appear suddenly at an end of Edo era. They built this movement upon Yamato-e in early modern period. Fukko yamato-e is the restoration Yamato-e painting. Late Edo era, they learned the Yamato-e masterpieces of the Heian and Kamakura era in order to revive the past Yamato-e. This movement was begun by TANAKA Totsugen, was succeeded by his pupil UKITA Ikkei or REIZEI Tamechika. Totsugen and Ikkei learned Yamato-e in Tosa school. And Tamechika learned Yamato-e of Kyo Kano. Edo Kano did work about the Tokugawa Shogunate. On the other hand, Kyo Kano worked about the Toyotomi administration in Kyoto. Kyo Kano was began with Sanraku, was continued by Sansetsu, Einou, Eikei, Eihaku, Eijo, Eiryo, Eishun, Eigaku, Eisho, Eijo, Eisho. In this paper, I reveal the tradition of Yamato-e of Kyo Kano from Sanraku to Eigaku and Eisho, also Tamechika in an end of Edo era.

著者

日並 彩乃

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.52, pp.85-105, 2019-04-01

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This paper introduces the "Buccho-Sonshodarani-Meigenroku," which was written by Gankai (1823-1873) and illustrated by Reizei-Tamechika (1823-1864). This book aimed at a propagation of vikiraṇoṣṇīṣa by telling the Darani stories of the past and present facts. Tamechika tried to restore the Yamato-e (traditional Japanese-style painting) in the late Edo period. This was published in 1854; that is, it is a work of the period when Tamechika met Gankai, and it should be considered at the forefront of a project memorializing Gankai's completion of "The 1000 Day Circumambulation" which is Penance of Tendai sect.

著者

日並 彩乃

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 = Bulletin of the Institute of Oriental and Occidental Studies, Kansai University (ISSN:02878151)

巻号頁・発行日

no.52, pp.85-105, 2019-04

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This paper introduces the "Buccho-Sonshodarani-Meigenroku," which was written by Gankai (1823-1873) and illustrated by Reizei-Tamechika (1823-1864). This book aimed at a propagation of vikiraṇoṣṇīṣa by telling the Darani stories of the past and present facts. Tamechika tried to restore the Yamato-e (traditional Japanese-style painting) in the late Edo period. This was published in 1854; that is, it is a work of the period when Tamechika met Gankai, and it should be considered at the forefront of a project memorializing Gankai's completion of "The 1000 Day Circumambulation" which is Penance of Tendai sect.

著者

日並 彩乃

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.7, pp.145-159, 2014-03-31

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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

著者

日並 彩乃

出版者

関西大学大学院東アジア文化研究科

雑誌

文化交渉 東アジア文化研究科院生論集 (ISSN:21874395)

巻号頁・発行日

vol.1, pp.91-122, 2013-01-31

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東アジアの言語と表象This work sets out the relationship between Yamato-e in early modern period and Fukko yamato-e.Late Edo period, the painters of a restoration Yamato-e(Fukko yamato-e 復古大和絵) learned directly the Yamato-e masterpieces of the Heian and Kamakura periods in order to revive the past Yamato-e. Fukko yamato-e artist has been considered to be a relation close to the political philosophy and social movement which was made to revitalize an emperor's(Tennou 天皇) power.However, the relation between Fukko yamato-e and reverence for the Emperor and expulsion of the barbarians is not deep in fact. Fukko Yamato-e was worked based on Yamato-e in early modern period. Fukko yamato-ecomposed in a perpendicularly long screen follows a precedent.In this paper, I hope to reveal a part of a Yamato-e in early modern period through consideration of Fukko Yamato-e composed in a perpendicularly long screen. Furthermore, I contemplate the influence from the China pictures, comparing it with a Chinese hanging scroll. And, I would like to clarify the transition and genealogy of Yamato-e in early modern period.