著者

田村 悦子

雑誌

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

巻号頁・発行日

no.252, pp.13-31, 1968-03-25

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The writer, devoted to the study of the so-called kohitsu-gire fragments of old manuscript copies of various classical works, has found a rare fragment of the Heiji Kassen Emaki or scroll paintings illustrative of the War of the Heiji era (1159 A.D.), world-famous because the first of the three existing scroll paintings is owned by the Museum of Fine Arts, Boston, Mass., U.S.A. The fragment is from the text which accompanied the scroll illustrating the battle of Rokuhara, Kyoto, of the Heiji War. This scroll in its integrity is now lost, and is known only by copies. This is the first time a fragment of the original text is introduced to the learned world, though small pieces of the paintings were found twenty years ago. The fragment, hitherto noticed by no art nor literature historians, can be seen without difficulty in the Shin Ga Jo album of kohitsu-gire fragments chromolithographically reproduced first in 1890 and then in 1939 by the Hongan Ji temple of the Hongan Ji Ha sect of the Shin-shu, known popularly as Nishi or Western Hongan Ji, Kyoto, Japan, probably from the originals in the possession of the temple. The writer, making into laborious tables her minute and exhaustive comparison of the calligraphy of the fragment and of each existing scroll of the Heiji Heiji differ in time of production with scrolls.paintings with one another, draws the conclusion that all the texts accompanying the Heiji paintings were written by one and the same hand. This conclusion, aided by the fact that some lines of the text are found on the same sheets of paper as the paintings and that the text and the painting ought to be contemporaneous with each other, is of great significance as it stands in the way of the new theory that the paintings of the Heiji differ in time of production with scrolls. Lastly, Miss Tamura collates critically the text of the Battle of Rokuhara Scroll with the standard current texts of the Heiji Monogatari (the Tale of Heiji), a literary account of the Heiji War. This scroll of the Heiji paintings has been neglected by students of Japanese literature.

著者

田村 悦子

雑誌

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

巻号頁・発行日

no.233, pp.14-36, 1965-02-27

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Here introduced is a portrait of Priest Ryōe (1098-1186) who was the earliest leader of Shingon Buddhism in the Eikyūji which was perished at the end of the last century. In her paper con cerning the temple in the Bijutsu Kenkyu, No. 224, she made reference also to this portrait, only the photograph of which had been known since its owner had changed around 1940 or 1945. Recently the present owner was found by the author and she could make the investigation. This is painted on an unpatched wide cloth. The condition of preservation is good. The priest in light-gray drapery wears a yellowishbrown ornamental stole over it and has a rosary in the hands. He sits on a decorated dais obliquely represented. He looks old with grizzled eyebrows and deeply-lined forehead. Around his mouth, there is a distortion peculiar to copied works and knees are well rendered but flat. Both show that it is probably a copy of an earlier work. In the author's opinion, the fact that he sits on the front part of the dais and the fact that it lacks stable feeling are the proofs of its being a copy. The portraiture has a classic style keeping soft lines of the Heian Period and, by the comparison with this kind of works of the Kamakura Period, it is judged to be a work of the middle Kamakura Period, probably of the third quarter of the 13th century. Colours are rather thin. The whole picture, together with the colours of the cartouche and the ground, gives bright impression. The letters in the cartouche are of the Sesonji School in the latter half of the 13th century. The Eikyūji had been presided by the followers of Ryōe and prospered in the Kamakura Period, especially, around the time of Priest Gyōen, when many buildings were built and pictures and sculptures were produced. This painting was probably of this period.

著者

田村 悦子

雑誌

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

巻号頁・発行日

no.273, pp.1-25, 1971-03-30

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The Ise Monogatari, or "Tales of Ise," a collection of more than one hundred short tales, mostly tales of love, each containing one or more Japanese short poems (tanka) as its core, written not later than the tenth century, has long been one of the best read classics in Japan. The Ise Monogatari was enjoyed not only in a simple book form, but also in a picture scroll form or in the form of the illustrated Ise Monogatari. One of the oldest extant specimen of the illustrated Ise is that formerly in the collection of Mr. Hara, Yokohama, supposed to have been made in the latter Kamakura Period or in the fourteenth century. To our deep regret Mr. Hara's scroll is not in its integrity but is a mere gathering of ten fragments, among which eight are of picture and two are of text. Therefore it is not necessarily self-evident which tales of the Ise these fragments of picture illustrate. Carefully examining the composition, human figures, scenes, etc. of the picture fragments, Miss Tamura points out, by interesting reasoning, the tales of Ise they illustrate, sometimes in contradiction to the older interpretations by such art historians as Mr. TANAKA Issho, Miss SHIRAHATA Yoshi, MUGAISHI, etc., and, even when Miss Tamura's interpretation agrees with the older interpretation, greatly reinforcing the latter. Miss Tamura's interpretations are as follows:-Fragment1: Text 2: Picture** 3: Picture*** 4: Text 5: Picture**** 6 & 7. Picture***** 8: Picture****** 9: Picture******* 10: Picture********Ise Tale I*XXIII, middle part IV XXVII XLI or XXIII, latter part IX LXIXVXIVOlder interpretations I I or XXXIII, middle part IV XXVII XXVII or XXIII, first part VIII or IX XXVIIVXXIII, middle part or XIV In addition, Miss Tamura supposes that the ornamental drawings on the sheets of paper for the text are also based on the Ise Monogatari itself. The artistic value of Mr. Hara's Picture Scroll of the Ise Monogatari may be said to have been multiplied by this essay. *The tale numbers are according to the Tempuku text of the Ise. **A man, concealing himself behind the shrubbery in the garden, anxiously watches his wife in the house whom he suspects of infidelity because she gladly sends him going out to visit his secret mistress's house. Assured of her chastity, however, he renews his love towards her. ***A court noble laying himself on the dilapidated veranda of the mansion from which his love disappeared just one year ago, sees melancholily the moon and the plum-blossoms in full bloom and weeps for her. ****The kitchen door of a country-house with a household vegetable garden outside. Inside the door mortar and wooden pestles are seen. By the side of the garden cloth is fulled on tenterhooks in the sun. Careful picture, a basketworm hanging down from a twig and a snail creeping on a vegetable leaf. (In the kitchen at the right, Miss Tamura supposes, the secret mistress referred to in the note ** is ladling boiled rice herself to the disappointment of her lover.) *****Court nobles on horseback with a retinue travelling together at the foot of a high mountain crowned with eternal snow, evidently Mt. Fuji. ******A gentle lady and two waiting maids sitting in a triangle behind curtains in a noble mansion. (The lady, Miss Tamura supposes, is the virgin princess priestess of the Grand Shrines at Ise, who is meditating on her last night's adventure with the Imperial messenger.) *******A court noble attempts to steal into the grounds of his beloved one's mansion through a gap in the earth-wall, only to find the gap strongly guarded by two armed servants placed by her aunt. ********A court noble shared the bed with a country woman, but left her house too soon. composed a poem to the following effect:- I will steep the cock in the tub full of water, For he crowed too early, Making my lover take his leave before dawn.