著者

水野 裕史

出版者

九州大学基幹教育院

雑誌

鷹・鷹場・環境研究 (ISSN:24328502)

巻号頁・発行日

vol.1, pp.43-56, 2017-03-25

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本稿は、日本における鷹図と鷹狩図について、先行研究を基に紹介するものである。また中国絵画の研究成果を参考としながら、日本における鷹の絵画の特徴についても少し考えてみたい。日本の鷹図研究は、個々の作例紹介とその考察によって展開してきた。そのため総括的な研究成果はあまり報告されていないのが現状である。一方で、日本絵画に多大な影響を与えた中国絵画では、大きな研究成果が提示されており、注目できる。このような中国絵画の成果を援用しながら、日本の鷹図について、図像の成立や展開を解釈することが可能となっている。またモチーフやパトロンとの関係から政治的意図を見出そうとする論考もあり、そのような成果は日本だけではなく、海外の研究者からも報告されている。鷹図研究が、大幅に進捗する一方で、風俗画の一画題である鷹狩図の研究はあまり多くはない。その中でも、今橋理子氏による研究は先駆的なものとして重要であり、今橋氏の研究を引用する論文が幾つか提出されている。また近年、扉風や絵巻の新出作例が相次いでいるものの、展覧会による紹介に留まっているのが現状である。そのため鷹狩図の包括的な研究が待たれる。This report introduces Japanese paintings of hawks and falconry, based on previous studies. Furthermore, in this report, hypotheses will be suggested regarding the features of Japanese hawk paintings with respect to the studies on the Chinese paintings. Since most studies on the paintings of hawks in Japan have developed through introduction and discussions of each individual work, much less comprehensive research results have been presented in the present circumstances. On the other hand, studies related to the Chinese paintings that significantly influenced the Japanese paintings, have achieved notable results. Thus, referring to the results of research into Chinese paintings of hawks, the formation and development of paintings, pictures and sculptures of hawks can be understood. In addition, some studies have endeavored to find the political intentions of works from the relationships between motifs and patrons, and these results have been reported by not only Japanese researchers, but by those overseas. In contrast to the significant progress of the research/studies on paintings of hawks, there are few studies investigating falconry paintings, which is one subject within the category of genre paintings. Among such studies, however, those of Riko IMAHASHI are important pioneering works; and, papers have been written citing IMAHASHl's studies. In recent years, moreover, previously unknown paintings of folding screens and picture scrolls are surfacing successively. In many cases, however, they are still being exhibited without discussion or analysis; hence, further comprehensive studies on hawking paintings are anticipated.

著者

水野 裕史

雑誌

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

巻号頁・発行日

no.428, pp.1-18, 2019-09-10

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This article considers the previously only partially deciphered biography of Sesson Shûkei (16th century) through historical materials related to two Rinzai sect Genjû school priests with whom Sesson interacted. The Rinzai sect Genjû school is theologically descended from Zhongfeng Mingben of the Chinese Linji (Rinzai) sect Yangqi (Yôgi) school. The Genjû school developed throughout the Kantô region during Japan's late medieval period and is known to have been highly influential at the time. And indeed, the development of the Genjû school was not unrelated to ink painting in the Kantô region. In particular, Barbara Ford has offered the interpretation that Sesson Shûkei modeled himself after Fukuan Sôki (1280-1358) and in effect followed in his footsteps. Evidence supporting this can be found in the Sesson works remaining at Jisôji in Aizu and Fukujûji in Miharu, both temples founded by Sôki. Sôki was born in Hitachi province, and like Sesson, came from the powerful Satake clan. Ford has indicated that Sesson's reverence for Sôki led him to Aizu. After these insightful beginnings research has not advanced on the connection between Sesson and the Genjû school. This article reexamines Sesson's interactions with the Genjû school as seen in the records of two Zen priests, Keishô Shûzui and Daichû Sôshin, both of whom were based at Hôunji (present-day Tsuchiura, Ibaraki prefecture), a temple founded by Sôki that was the base of the Genjû school. The Hôunji zakki binran (Hôunji) records compilation, bearing a colophon dated 1722 (Kyôhô 7), was assembled by Shirin Oku, the 17th abbot of Hôunji who feared the dispersal of the Hôunji documents. This compilation includes a record of Keishô Shûzui's visit to Hôunji and his recitation of poems in Hôunji's abbot's residence Eikôin. The connection between Keishô Shûzui and Sesson is known from Shûzui's 1555 (Tenbun 24) inscription on Sesson's Myna Bird and other materials, but the nature of their connection had not yet been determined. Ninsai rakusui dôjin kôgô, today in the Ishikawa Takeyoshi Memorial Library, Tokyo, is the only known collection of sayings by Keishô Shûzui. This volume records that he visited Shôjôji around the early Tenbun era. Shôjôji is the same temple that Sesson entered as a child. And while previously it had been thought that Sesson's interactions with Keishô Shûzui were in the Kamakura area from 1550 (Tenbun 19) onwards, we can now indicate that these interactions began in the early Tenbun era at Shôjôji in Hitachi province. In 1512 (Eishô 9) Daichû Sôshin, who was born in the domain of the Hitachi province Oda family, entered the Sôgetsuin (a sub-temple of Hôunji), and was named head priest of Kôtokuji in Aizu in the first month of 1567 (Eiroku 10). Daichû Sôshin's book of aphorisms, the Daichû washô goroku (Dairyûji, Chiba) states that a painter named Sôkansai (相鑑斎) visited Daichû in Aizu in the 12th month of 1567, and that this Sôkansai had also been born in Hitachi province. According to Ogawa Tomoji's research, around 1567 Sesson was going back and forth between Miharu and Aizu. From these factors we could suggest the possibility that Sesson interacted with Daichû, whose circle of connections included Sôkansai and the Genjû school lineage. Previous research on Sesson's biography had found it difficult to connect the dots of his known interactions. The records of these two Zen priests allow us to surmise Sesson's interactions with painters Baiinsai, Senka and Sôkansai and indicate that their connections were based on the Genjû school network.

著者

守屋 正彦 藤田 志朗 程塚 敏明 勝木 言一郎 井川 義次 水野 裕史 木村 浩 山澤 学 小出 真理子 秋山 学 柴田 良貴 沖松 健次郎 入口 敦士 大久保 範子 菅野 智明 渡邉 晃 伊藤 たまき 中村 玲

出版者

筑波大学

雑誌

基盤研究(A)

巻号頁・発行日

2014-04-01

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調査期間中に進めてきた東アジアに展開する儒教美術の表象の研究は最終年度で、釈奠における孔子表象の研究を中心としたものに考察対象を絞り、国際会議を行った。国際会議は筑波大学国際会議室を会場に、2018年1月26日に開催し、杜正勝(台湾中央研究院院士)、陳芳妹(台湾大学教授)、James McMullen(Oxford大学名誉教授)、關信子(美術史家)による発表を受けて、これまでの研究成果を研究代表者、分担者が行い、その成果報告は『「釈奠-東アジアの孔子祭典を考える」報告論文集』(2018年3月31日)として刊行し、東アジアにおける儒教美術研究の横断的な研究基盤形成への端緒を開いた。