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.3, pp.21-40, 2014-09-30

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The study of Reizei Tamechika’s Buddhist paintings is just as important as the study of his Fukko Yamato-e(restoration of Japanese painting). Fukko Yamato-e was a movement at the end of the Edo period, focused on the restoration of a traditional style of Japanese painting based on the masterpieces of the Heian and Kamakura eras. While Tamechika’s work is associated with the Kyokano area, he also produced many Buddhist paintings through his personal connection with Gankai. Tamechika also learned the archaic style of Buddhist painting of the Heian and Kamakura periods. However, seeing as Tamechika was born in Kyokano, it is possible that his Buddhist paintings were also influenced by his hometown. In this paper I will discuss the tradition of Yamato-e of the Kano school, from Sanraku to Eigaku and Eisho, and then Tamechika at the end of the Edo period. I wil also look at the changes that can be seen in Tamechika’s Buddhist painting.