著者

日並 彩乃

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.2, pp.81-105, 2013-12-01

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This work sets out Yamato-e of Kyo Kano. Fukko yamato-e did not appear suddenly at an end of Edo era. They built this movement upon Yamato-e in early modern period. Fukko yamato-e is the restoration Yamato-e painting. Late Edo era, they learned the Yamato-e masterpieces of the Heian and Kamakura era in order to revive the past Yamato-e. This movement was begun by TANAKA Totsugen, was succeeded by his pupil UKITA Ikkei or REIZEI Tamechika. Totsugen and Ikkei learned Yamato-e in Tosa school. And Tamechika learned Yamato-e of Kyo Kano. Edo Kano did work about the Tokugawa Shogunate. On the other hand, Kyo Kano worked about the Toyotomi administration in Kyoto. Kyo Kano was began with Sanraku, was continued by Sansetsu, Einou, Eikei, Eihaku, Eijo, Eiryo, Eishun, Eigaku, Eisho, Eijo, Eisho. In this paper, I reveal the tradition of Yamato-e of Kyo Kano from Sanraku to Eigaku and Eisho, also Tamechika in an end of Edo era.