著者

猪瀬 あゆみ

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.8, pp.3-19, 2018-11-30

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東アジアの言語と表象 (East Asian languages and Representations)This paper looks at the artistic works of The Narrow Road to the Deep North by Yosa Buson (1716-1783). Three scrolls and one folding screen are extant. Buson completed these works, which were inspired by the famous prose and verse collection by Matsuo Basho (1644-1694), The Narrow Road to the Deep North, in the late 18th century, when a revival movement of Basho's poetic style was flourishing. There has unfortunately been a dearth of serious or detailed academic discussion on the relationship between Buson's paintings and his accompanying calligraphy. This research paper puts forward the proposition that these works differ from other artists' output, with particular emphasis being placed on his "The Trio of Poetry Calligraphy Drawing" in the Edo Era. Through a painstaking examination of each work, this paper seeks to clarify how the composition of the paintings and the calligraphy help form a harmonious whole.

著者

猪瀬 あゆみ

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.11, pp.127-146, 2018-03-31

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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[東アジアの言語と表象]This study deals with the works of The Narrow Road to the Deep North by Yosa Buson (1716-1783) Three scrolls and one folding screen are extant. Buson completed these works based on the famous work by Matsuo Basho (1644-1694) The Narrow Road to the Deep North, during the late 18th century, when the revival movement of Basho's poetic style was flourishing. It can be surmised that these works were in demand, as several copies exist. In every case, Buson copied the entire The Narrow Road to the Deep North and painted several scenes between the handwritten poems. This research delineates how their style and formats changed, and how Buson painted Basho's expressions by comparing the paintings in each work. The paper also examines how Buson's depictions in his art reflected Basho's haikai. The paintings and haiku are subtly intertwined in a style called nioizuke (a Shofu-style technique) that Buson is generally thought to have established. This paper discusses the interaction in concrete terms and compares Buson's work with those related to The Narrow Road to the Deep North depicted by other artists. In the conclusion, the reasons Buson selected certain screens from Basho's work to illustrate, and how Buson's paintings resonate with Basho's haikai, are clarified.

著者

猪瀬 あゆみ

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.7, pp.41-58, 2017-11-30

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Yosa Buson (1716-1783) was a haiku poet and remarkably talented painter of Bunjinga (Japanese Literati Painting) and Haiga (Haikai paintings) from the Edo period. He made many scrolls and folding screens based on the famous work by Matsuo Basho (1644-1694), Narrow Road to the Deep North. These productions were related to the revival movement of Basho's poetic style during the late 18th century. This article proposes that the context for Buson's extensive output of works inspired by Basho was not so much based only on an inherent respect for Basho's work, rather it was due more to commercial interests, as works based on Basho's writings proved to be lucrative at the time. This paper also looks at whether a difference in Buson's style of haiga can be seen after this period, compared to his earlier works created prior to his work based on Basho.