著者

綿田 稔

雑誌

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

巻号頁・発行日

no.396, pp.25-44, 2008-11-05

---

Jukô-in was built as the family temple in memory of Miyoshi Nagayoshi (1522-64, posthumous name Jukô-indono, or Lord of Jukô-in) and is one of the sub temples of Daitoku-ji in Kyoto. The main hall of Jukô-in, built in the typical architectural style of the late Muromachi period, is extant. The paintings on the walls of the hall are thought to be essentially contemporaneous with the building and they too remain in good condition. Indeed, these paintings are considered one of the benchmark works of Kano Eitoku (1543-90), a painter who defined his age. In the past there has been an ongoing debate amongst painting historians as to the date of the construction of the Jukô-in main hall, with one faction backing a date of 1566 and another 1583. However, the restoration report that set off this dating debate states that construction of the hall lasted from the end of the Eiroku period (1558-69) through the beginning of the Tenshô era (1573-1591), and thus does nothing more than indicate that the foundation date is not limited to 1566. Watanabe Yûji, the proposer of the 1583 theory, considers that there is still ample room for a reconsideration of the 1566 theory, and thus his argument is nothing more than a statement that in the extreme, 1583 could be possible. In spite of these arguments, the Jukô-in clearly existed within Daitoku-ji as an organization in 1572, as Ogawa Hiromitsu has indicated. Further, if the extant main hall dates to 1583, then it must be imagined that its state indicates that it was moved from another site or was rebuilt. However, at this point in time there has been no report of the existence of any proof or documentary support for such a state of affairs. Further, judging from the state of the inscription, 1583 might be the date in which the previous cypress-bark roof of the main hall was changed to a tile roof. Thus it is important to note that there is no evidence to confirm either hypothesis, and further, that in the Eiroku era there is no trace of the residence of either Shôrei Sôkin (1505-83), founding priest of Jukô-in, or his teacher Dairin Sôtô (1480-1568) at Jukô-in. It may be that 1566 marked the founding not of Jukôô-in, but rather that of its predecessor. Another possibility is that the founding of such a temple was conceived of in 1566 and later this date was taken as its honorary foundation date. Up until now there has been no definitive historical document directly linked to the creation of the Jukô-in main hall, and in the end, both the 1566 and the 1583 arguments remain without solid documentary evidence or circumstantial proof. At this stage, no matter what date is proposed as a production date for the Jukô-in wall panel paintings, given that there are no definitive dated inscriptions on the paintings itself, there is nothing that can extract us from a state of "nothing can be said." This author took a critical stance against the 1583 hypothesis in the exhibition review included below, and in this forum seeks a sense of direction in argument from the previously introduced information on the subject. The conclusion of this search finds that the date of 1571 can be proposed as the actual completion date of the Jukô-in main hall, based on the situation surrounding the commissioner of the Jukô-in, Miyoshi Yoshitsugu (1551-73), and the date of the portrait of Shorei Sôkin with self-colophon written in the Jukô-in main hall. It is similarly highly likely that the wall panel paintings can also be attributed to that year.

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.393, pp.30-60, 2008-01-28

---

Sôtan (1420-1481) was a Daiô school Zen monk of the Rinzai sect, and he was a Kyoto-based painter during the mid Muromachi period. While it is known that his secular family name was Oguri, his birthplace and family's social standing are not known. Sôtan is known to have studied Zen under Yôsô Sôi of Daitoku-ji, and it is believed that he studied painting from the monk-painter Shûbun of Shôkoku-ji. He created a landscape painting with inscriptions by four Zen priests from the Chinese poetry salon of Reisen-in, Ken'nin-ji, in 1459. In 1462, he painted the Eight Views of the Xiao and Xiang on shôji sliding doors at Shôsen-ken, a building in the Untaku-ken of the Unchô-in subtemple of Shôkoku-ji temple. By that time Sôtan had already been highly praised for his genius at painting by Ashikaga Yoshimasa, the 8th shogun of the Muromachi shogunate. That same year (1462), Sôtan became a monk under Shunpo Sôki at Daitoku-ji and was dubbed Kan'ô Sôtan. Around the end of the same year he built a hermitage at Aneyakôji-Nishinotoin in the market district of Kyoto, and his new home was named Jiboku-an by Kikei Shinzui, a priest who lived at Inryô-ken in the Rokuon-in subtemple of Shokoku-ji. The following year Sôtan was appointed painter to the shogun, a position that, like that of Shûbun, the previous generation of official painter to the shogunal family, entailed the receipt of a monthly stipend and year-end bonus. In 1466 Sôtan participated in the trip to Arima (present-day part of Kobe city) for recuperative bathing taken by Kikei Shinzui, Taga Takatada, and other high-ranking members of the shogunate. Sôtan painted a view of the hot springs village as seen from in front of the Amida-dô Hall in the town. This is important as a record of an outdoor sketch of a specific landscape in Japan. During the Ônin Civil War, Sôtan evacuated to the Muromachi Palace, where the emperor and the shogun were temporarily both residing. There is one incident known from this time, when Sôtan had trouble with his hand and the shogun ordered the official doctors to heal him. Such incidents indicate the importance of Sôtan to the shogun. Records show that in addition to his work on the Shôsen-ken sliding door paintings, Sôtan also created sliding door paintings for the Takakura Palace (the later incarnation of the Karasuma Palace, which would eventually become the Imadegawa Palace), the Untaku-ken, the New Izumidono Building of the Muromachi Palace, the residence of Ino'o Yukitane, and Yôtoku-in subtemple of Daitoku-ji. The paintings for the New Izumidono Building of the Muromachi Palace were created on a commission from Ashikaga Yoshimasa to commemorate Retired Emperor GoHanazono's visit. Sporadic records of paintings by Sôtan remain until 1473, and it can be surmised that he also received a considerable stipend for his main work commissioned by Ashikaga Yoshimasa for the Kokawa Palace and the reconstructed Muromachi Palace. It is difficult to imagine that Sôtan would not have been active in the renovation of temple buildings at Daitoku-ji. Sôtan died in 1481 at the age of 69, just before Ashikaga Yoshimasa began work on the Higashiyama Palace. Sôtan had a son named Kei Gessen (also known as Kitabô) who was also a monk-painter. However, Sôtan's position as shogunal painter was not inherited by his son, he was succeeded by Kanô Masanobu in his role of official painter to the shogunal family. Kanô Masanobu was immediately put to work the wall paintings for the new Higashiyama Palace. In later years, what would become the Kanô school of painting hastened Japanese painting along the path to the premodern era. Sôtan was not only an intermediary between Shûbun and the Kanô school, he was also the central painter of Ashikaga Yoshimasa's reign as shogun. Regardless of whether or not original works remain by Sôtan, his importance in art history cannot be overemphasized. The study of Sôtan, not only the study of Shûbun, is essential for a detailed understanding of the culture that matured and flourished during Ashikaga Yoshimasa's shogunate. To understand that culture, one also must go beyond a consideration of the wasteful public cultural projects initiated by Yoshimasa, a political failure who turned his back on the world in his search for pleasure, to consider a culture not in tandem with the political failure and also not encompassed by a prejudiced term "Higashiyama Culture." Thus this article aims to organize available research materials and examine them in detail in order to create a basis for future study on Sôtan.

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.396, pp.25-44, 2008-11-05

---

Jukô-in was built as the family temple in memory of Miyoshi Nagayoshi (1522-64, posthumous name Jukô-indono, or Lord of Jukô-in) and is one of the sub temples of Daitoku-ji in Kyoto. The main hall of Jukô-in, built in the typical architectural style of the late Muromachi period, is extant. The paintings on the walls of the hall are thought to be essentially contemporaneous with the building and they too remain in good condition. Indeed, these paintings are considered one of the benchmark works of Kano Eitoku (1543-90), a painter who defined his age. In the past there has been an ongoing debate amongst painting historians as to the date of the construction of the Jukô-in main hall, with one faction backing a date of 1566 and another 1583. However, the restoration report that set off this dating debate states that construction of the hall lasted from the end of the Eiroku period (1558-69) through the beginning of the Tenshô era (1573-1591), and thus does nothing more than indicate that the foundation date is not limited to 1566. Watanabe Yûji, the proposer of the 1583 theory, considers that there is still ample room for a reconsideration of the 1566 theory, and thus his argument is nothing more than a statement that in the extreme, 1583 could be possible. In spite of these arguments, the Jukô-in clearly existed within Daitoku-ji as an organization in 1572, as Ogawa Hiromitsu has indicated. Further, if the extant main hall dates to 1583, then it must be imagined that its state indicates that it was moved from another site or was rebuilt. However, at this point in time there has been no report of the existence of any proof or documentary support for such a state of affairs. Further, judging from the state of the inscription, 1583 might be the date in which the previous cypress-bark roof of the main hall was changed to a tile roof. Thus it is important to note that there is no evidence to confirm either hypothesis, and further, that in the Eiroku era there is no trace of the residence of either Shôrei Sôkin (1505-83), founding priest of Jukô-in, or his teacher Dairin Sôtô (1480-1568) at Jukô-in. It may be that 1566 marked the founding not of Jukôô-in, but rather that of its predecessor. Another possibility is that the founding of such a temple was conceived of in 1566 and later this date was taken as its honorary foundation date. Up until now there has been no definitive historical document directly linked to the creation of the Jukô-in main hall, and in the end, both the 1566 and the 1583 arguments remain without solid documentary evidence or circumstantial proof. At this stage, no matter what date is proposed as a production date for the Jukô-in wall panel paintings, given that there are no definitive dated inscriptions on the paintings itself, there is nothing that can extract us from a state of “nothing can be said.” This author took a critical stance against the 1583 hypothesis in the exhibition review included below, and in this forum seeks a sense of direction in argument from the previously introduced information on the subject. The conclusion of this search finds that the date of 1571 can be proposed as the actual completion date of the Jukô-in main hall, based on the situation surrounding the commissioner of the Jukô-in, Miyoshi Yoshitsugu (1551-73), and the date of the portrait of Shorei Sôkin with self-colophon written in the Jukô-in main hall. It is similarly highly likely that the wall panel paintings can also be attributed to that year.

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.394, pp.1-40, 2008-03-28

---

For résumé, see Bijutsu Kenkyu No. 393

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.408, pp.105-112, 2013-01-18

---

The single-volume printed book introduced in this article is one of the items originally collected by Tanaka Sukeichi (1911–2000, doctor and local historian of Hagi city, Yamaguchi Prefecture), and now in the collection of the Hagi Museum. It seems that the Hanzawa family, descendants of a branch of the Unkoku family of painters who were in service to the Hagi clan during the Edo Period, gave this volume to Tanaka. This is thought to be the first volume of what would have originally been a set of three volumes, and it is made up entirely of painting method explanations. Various painting manuals are known from the Edo Period including Tosa Mitsuoki’s Honchô-gahô-taizen (1690), Kanô Einô’s Honchô-gashi (1693), Hayashi Moriatsu’s Gasen (1712), Nishikawa Sukenobu’s Gahô-saishikihô (1738) and Miyamoto Kunzan’s Kanga-hitori-geiko (1807). Though, there has yet to be a compilation of all these. This lacuna is a result of the focus of modern art history studies on painting history and theory, and thus nowadays even normal painting techniques have been largely forgotten. In the modern context, Nihonga techniques were given special status and standardized as the Japanese way of painting. Painting materials also changed dramatically. Not only was an understanding of pigments lost or neglected, but also that of brushes, painting papers and silks. Conversely, conditions were ripe for improvements in research on materials and methods, thanks to the great advances made in the technical field. However, scholars across various disciplines could not agree on the norms, and thus debate on this subject could not advance to a conclusion. While the On-e-kagami painting manual, printed in an inexpensive, popular edition, does not seem to contain any secret or proprietary techniques, it does seem to record general common sense methods. Even if the tome has limits, the accumulation of information and illumination of the standard procedures of the day surely would not be without merit for future studies.

著者

綿田 稔

出版者

岩波書店

雑誌

文学 (ISSN:03894029)

巻号頁・発行日

vol.12, no.5, pp.129-148, 2011-09

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.407, pp.34-50, 2012-09-14

---

4. Interactions with Hishida Shunsô As indicated in the earlier section of this study, published in Bijutsu Kenkyû 404, Akimoto Shatei, a brewer in Nagareyama, Chiba prefecture, was a patron of Hishida Shunsô during the artist’s later years. Shunsô’s major works, Fallen Leaves (1909, Eisei-Bunko Museum) and Black Cat (1910, Eisei-Bunko Museum) were both in Shatei’s personal collection. Toya Banzan, a pupil of Terasaki Kôgyô and secretary of the Bijutsu Kenseikai group supported by Shatei, is thought to have been the person who introduced Shatei to Shunsô. Banzan’s memoirs state that he took Shatei to Izura in the spring of 1908 and there introduced him to Shunsô and Yokoyama Taikan. Letters handed down to Shatei’s descendants confirm that Shatei visited Izura during that period. However, it was also around that time that Shunsô was suffering from eye disease and was forced to temporarily stop painting. According to Banzan’s memoirs, Shatei had visited Shunsô intending to commission a painting, but when he learned that Shunsô was ill he instead arranged to pay for his living expenses for a year. Shunsô’s Landscape in Autumn (Aichi Prefectural Museum of Art), formerly in Shatei’s collection, is probably a painting that Shunsô created for Shatei around the autumn of 1908, once his eyes had healed. The following autumn of 1909, Shunsô entered his work Fallen Leaves in the 3rd Bunten Exhibition (Art Exhibition of the Ministry of Education) after which it entered Shatei’s collection. According to Banzan’s memoirs of Banzan and the collector Hosokawa Moritatsu, it seems that Shatei had already made up his mind to acquire the painting by the time of the invitation-only, first viewing day of the exhibition. Shunsô’s Landscape of the Four Seasons (National Museum of Modern Art, Tokyo), painted around the same time, also found its way into Shatei’s collection. The painting’s exhibition history cannot be confirmed and there is still some need for investigation regarding the production period of this handscroll, but if the Landscape of the Four Seasons, which was of a large scale suited to exhibition entry, was created solely for Shatei’s personal enjoyment, then it would speak of the strong and deep connection between Shunsô and Shatei. Black Cat, which was Shunsô’s last entry in a Bunten exhibition, was also a work that Shatei had decided to acquire even prior to its exhibition. The interactions between Shunsô and Shatei were not simply a case of paintings being produced and procured. Around the autumn of 1910, when Shatei acquired Black Cat, Shunsô created a painting primer for Shatei’s daughter Matsuko. Shunsô expressed his understanding of painting methods in a letter he wrote to Shatei about Matsuko’s study from the primer. That letter simply spells out a list of guiding principles for her study of brush stroke methods and painting study, and even though it is intended for a beginning student, the letter does provide a rare expression of beginning painting study methods espoused by Shunsô, who did not himself take any pupils throughout his lifetime. However, it was around this time that Shunsô fell ill again, and died the following year, on September 16, 1911. Talk of a Shunsô memorial exhibition arose immediately after his death, and Shatei’s name was linked to those of Okakura Tenshin, Yokoyama Taikan and others as one of the originators of the idea. Shatei provided financial support for the exhibition when it was held in the following spring of 1912. Shunsô’s ashes were divided between his hometown of Iida and Tokyo, and it was Shatei who paid for Shunsô’s gravestone in Tokyo.

著者

マシュー・P・マッケルウェイ 綿田 稔

雑誌

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

巻号頁・発行日

no.404, pp.98-105, 2011-08-30

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.395, pp.20-56, 2008-08-28

---

For résumé, see Bijutsu Kenkyu No. 393

著者

綿田 稔

出版者

国立文化財機構東京文化財研究所

雑誌

美術研究 (ISSN:00219088)

巻号頁・発行日

no.407, pp.34-50,PL1-2, 2012-09

---

4. Interactions with Hishida Shunsô As indicated in the earlier section of this study, published in Bijutsu Kenkyû 404, Akimoto Shatei, a brewer in Nagareyama, Chiba prefecture, was a patron of Hishida Shunsô during the artist's later years. Shunsô's major works, Fallen Leaves (1909, Eisei-Bunko Museum) and Black Cat (1910, Eisei-Bunko Museum) were both in Shatei's personal collection. Toya Banzan, a pupil of Terasaki Kôgyô and secretary of the Bijutsu Kenseikai group supported by Shatei, is thought to have been the person who introduced Shatei to Shunsô. Banzan's memoirs state that he took Shatei to Izura in the spring of 1908 and there introduced him to Shunsô and Yokoyama Taikan. Letters handed down to Shatei's descendants confirm that Shatei visited Izura during that period. However, it was also around that time that Shunsô was suffering from eye disease and was forced to temporarily stop painting. According to Banzan's memoirs, Shatei had visited Shunsô intending to commission a painting, but when he learned that Shunsô was ill he instead arranged to pay for his living expenses for a year. Shunsô's Landscape in Autumn (Aichi Prefectural Museum of Art), formerly in Shatei's collection, is probably a painting that Shunsô created for Shatei around the autumn of 1908, once his eyes had healed. The following autumn of 1909, Shunsô entered his work Fallen Leaves in the 3rd Bunten Exhibition (Art Exhibition of the Ministry of Education) after which it entered Shatei's collection. According to Banzan's memoirs of Banzan and the collector Hosokawa Moritatsu, it seems that Shatei had already made up his mind to acquire the painting by the time of the invitation-only, first viewing day of the exhibition. Shunsô's Landscape of the Four Seasons (National Museum of Modern Art, Tokyo), painted around the same time, also found its way into Shatei's collection. The painting's exhibition history cannot be confirmed and there is still some need for investigation regarding the production period of this handscroll, but if the Landscape of the Four Seasons, which was of a large scale suited to exhibition entry, was created solely for Shatei's personal enjoyment, then it would speak of the strong and deep connection between Shunsô and Shatei. Black Cat, which was Shunsô's last entry in a Bunten exhibition, was also a work that Shatei had decided to acquire even prior to its exhibition. The interactions between Shunsô and Shatei were not simply a case of paintings being produced and procured. Around the autumn of 1910, when Shatei acquired Black Cat, Shunsô created a painting primer for Shatei's daughter Matsuko. Shunsô expressed his understanding of painting methods in a letter he wrote to Shatei about Matsuko's study from the primer. That letter simply spells out a list of guiding principles for her study of brush stroke methods and painting study, and even though it is intended for a beginning student, the letter does provide a rare expression of beginning painting study methods espoused by Shunsô, who did not himself take any pupils throughout his lifetime. However, it was around this time that Shunsô fell ill again, and died the following year, on September 16, 1911. Talk of a Shunsô memorial exhibition arose immediately after his death, and Shatei's name was linked to those of Okakura Tenshin, Yokoyama Taikan and others as one of the originators of the idea. Shatei provided financial support for the exhibition when it was held in the following spring of 1912. Shunsô's ashes were divided between his hometown of Iida and Tokyo, and it was Shatei who paid for Shunsô's gravestone in Tokyo.

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.405, pp.25-46, 2012-01-13

---

Sesshû Tâyô (1420-1502/06?) was a Zen monk who painted during the latter half of the 15th century, during Japan's Muromachi period. Labeled a painting master and a painting great in Japan today, our previous understanding of Sesshû has been little more than a tentative analysis, framed in the limited image of the modern “artist.” This is true to the extent that there are no records today that give us a definitive answer about how Sesshû or his paintings were understood by his contemporaries. In order to create a more realistic evaluation of this painter, we must first examine the known facts behind his rale. As such, in this case, all we have are Sesshû's actual remaining works. Indeed, the extant works are nothing more than a fragment of his full output. The oeuvre does not tell us about Sesshû the artist or Sesshû the man. Indeed our understanding of Sesshû himself is but a rough sketch, given that the information remaining about him is quite fragmentary. Imagining a whole from these few and disparate parts can provide some feedback on that fragmentary understanding. This then enriches the overall image, and in turn, enriches our understanding. In this process we can become aware of fragments that had not been previously acknowledged. Different viewpoints are linked at unexpected places and gradually that which is grasped of the entirety grows. In this process it is necessary to reposition, redefine individual facts, whether his paintings or even Sesshû himself. This article is such a study, and there is the impression that at last certain of the fragments are linked up. Then, advancing from the process of individual proof, I would like to advance to the stage of gathering up the fragments while considering the entire image. This article attempts to position Sesshû as one of the countless kanga-shi (Chinese-like style painters, or painters who were of military class background who painted in a Chinese-like style), who existed across the history of Japan. This process will reconsider the Handscroll of Landscape of the Four Seasons (also known simply as the Long Landscape Scroll, dated to the 12th month of 1486, Mohri Museum), from the vantage point of a kanga-shi painter. In fact, historical documents exist that suggest that around the spring of 1487 Sesshû painted landscapes in the style of Xia Gui on the shôji sliding door panels for Ôuchi Masahiro (1446–1495). This evidence of Sesshü's actual role as a kanga-shi painter can also clarify the meaning of the Long Landscape Scroll, a work painted immediately before the Ôuchi work and one consisting of landscapes in the Xia Gui style. Undoubtedly, around the time when Sesshû was painting the Long Landscape Sscroll, he would have had a variety of information regarding the paintings of the Chinese Southern Song painter Xia Gui that he would have received from the Ôuchi family that commissioned the shôji works. This would have added to the knowledge Sesshû already had of Xia Gui style, and would have lead to the creation of the Long Landscape Scroll, which acted as a gahon (pictorial model) of Xia Gui's landscape style, a tool for his painting studio. Rather than just Sesshû's own self-determination, it would be closer to the truth to say that Ôuchi Masahiro ordered Sesshû to make such gahon, expecting it would be a tool for use by the next generation. In addition to the Long Landscape Scroll, there are several other extant works that could be considered pictorial models for Sesshû. And indeed, the majority of extant Sesshû works fall into this gahon category, and Sesshû is not unique in this regard. These materials can be considered the best tool for us today to reconsider Sesshû in his true historical perspective as a kanga-shi painter, the system in which he worked and the pictures he produced within those conditions.

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.393, pp.30-60, 2008-01-28

---

Sôtan (1420-1481) was a Daiô school Zen monk of the Rinzai sect, and he was a Kyoto-based painter during the mid Muromachi period. While it is known that his secular family name was Oguri, his birthplace and family's social standing are not known. Sôtan is known to have studied Zen under Yôsô Sôi of Daitoku-ji, and it is believed that he studied painting from the monk-painter Shûbun of Shôkoku-ji. He created a landscape painting with inscriptions by four Zen priests from the Chinese poetry salon of Reisen-in, Ken'nin-ji, in 1459. In 1462, he painted the Eight Views of the Xiao and Xiang on shôji sliding doors at Shôsen-ken, a building in the Untaku-ken of the Unchô-in subtemple of Shôkoku-ji temple. By that time Sôtan had already been highly praised for his genius at painting by Ashikaga Yoshimasa, the 8th shogun of the Muromachi shogunate. That same year (1462), Sôtan became a monk under Shunpo Sôki at Daitoku-ji and was dubbed Kan’ô Sôtan. Around the end of the same year he built a hermitage at Aneyakôji-Nishinotoin in the market district of Kyoto, and his new home was named Jiboku-an by Kikei Shinzui, a priest who lived at Inryô-ken in the Rokuon-in subtemple of Shokoku-ji. The following year Sôtan was appointed painter to the shogun, a position that, like that of Shûbun, the previous generation of official painter to the shogunal family, entailed the receipt of a monthly stipend and year-end bonus. In 1466 Sôtan participated in the trip to Arima (present-day part of Kobe city) for recuperative bathing taken by Kikei Shinzui, Taga Takatada, and other high-ranking members of the shogunate. Sôtan painted a view of the hot springs village as seen from in front of the Amida-dô Hall in the town. This is important as a record of an outdoor sketch of a specific landscape in Japan. During the Ônin Civil War, Sôtan evacuated to the Muromachi Palace, where the emperor and the shogun were temporarily both residing. There is one incident known from this time, when Sôtan had trouble with his hand and the shogun ordered the official doctors to heal him. Such incidents indicate the importance of Sôtan to the shogun. Records show that in addition to his work on the Shôsen-ken sliding door paintings, Sôtan also created sliding door paintings for the Takakura Palace (the later incarnation of the Karasuma Palace, which would eventually become the Imadegawa Palace), the Untaku-ken, the New Izumidono Building of the Muromachi Palace, the residence of Ino'o Yukitane, and Yôtoku-in subtemple of Daitoku-ji. The paintings for the New Izumidono Building of the Muromachi Palace were created on a commission from Ashikaga Yoshimasa to commemorate Retired Emperor GoHanazono's visit. Sporadic records of paintings by Sôtan remain until 1473, and it can be surmised that he also received a considerable stipend for his main work commissioned by Ashikaga Yoshimasa for the Kokawa Palace and the reconstructed Muromachi Palace. It is difficult to imagine that Sôtan would not have been active in the renovation of temple buildings at Daitoku-ji. Sôtan died in 1481 at the age of 69, just before Ashikaga Yoshimasa began work on the Higashiyama Palace. Sôtan had a son named Kei Gessen (also known as Kitabô) who was also a monk-painter. However, Sôtan's position as shogunal painter was not inherited by his son, he was succeeded by Kanô Masanobu in his role of official painter to the shogunal family. Kanô Masanobu was immediately put to work the wall paintings for the new Higashiyama Palace. In later years, what would become the Kanô school of painting hastened Japanese painting along the path to the premodern era. Sôtan was not only an intermediary between Shûbun and the Kanô school, he was also the central painter of Ashikaga Yoshimasa's reign as shogun. Regardless of whether or not original works remain by Sôtan, his importance in art history cannot be overemphasized. The study of Sôtan, not only the study of Shûbun, is essential for a detailed understanding of the culture that matured and flourished during Ashikaga Yoshimasa's shogunate. To understand that culture, one also must go beyond a consideration of the wasteful public cultural projects initiated by Yoshimasa, a political failure who turned his back on the world in his search for pleasure, to consider a culture not in tandem with the political failure and also not encompassed by a prejudiced term “Higashiyama Culture.” Thus this article aims to organize available research materials and examine them in detail in order to create a basis for future study on Sôtan.

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.394, pp.1-40, 2008-03-28

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For résumé, see Bijutsu Kenkyu No. 393

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.395, pp.20-56, 2008-08-28

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For résumé, see Bijutsu Kenkyu No. 393

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.393, pp.30-60, 2008-01-28

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.395, pp.20-56, 2008-08-28

著者

綿田 稔

雑誌

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

巻号頁・発行日

no.386, pp.1-18, 2005-06-07