著者

中谷 伸生

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.12, pp.3-21, 2019-03-31

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Looking at paintings by Nagasawa Rosetsu, the so-called eccentric painter, one finds characteristics that seem to resemble those of Osaka painters centered around Kimura Kenkadō. As for relationships to Osaka, one could mention Rosetsu's profound connections to the Yodo Domain, which was well known for fostering cultural connections between Kyoto and Osaka. In other words, the creation of deep connections between Kyoto and Osaka artists was a characteristic of the Yodo Domain: all the way from Ike Taiga (1723-76) and Baisa'ō (1675-1763) to Shinozaki Shō chiku (1781-1851) and Hirose Kyokusō (1807-63). In addition, as for Resetsu's reception among Osaka painters, one might mention Nishiyama Hōen (1804-67), who learned from Rosetsu and came to represent the shasei school in Osaka. All in all, it becomes clear that the Osaka painting world had deep connections to Rosetsu and his works. Conversely, we cannot reject the possibility that Rosetsu was influenced by Osaka painters. If we look at the Mori School, including the Osaka painter Mori Sosen (1747-1821) known for painting monkeys, and Okada Beisanjin (1744-1820) whose humorous painting style bear similarities to that of Rosetsu, as well as the freakish paintings of Rin Ryōen (1740s-1780s), we can easily imagine contemporary connections to Rosetsu. In this paper, I would like to discuss Rosetsu, who both worked and died in Osaka, and try to come to a deeper understanding of the painter through a comparison between the so-called eccentric painting style of Rosetsu and those of the Osaka painting world.