著者

白石 恵理

出版者

近世京都学会

雑誌

近世京都 (ISSN:21886709)

巻号頁・発行日

vol.5, pp.23-42, 2022-09-20 (Released:2023-08-05)

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Ishū retsuzō is a set of portraits of twelve Ainu chiefs-painted by Kakizaki Hakyō (Kakizaki Shōgen Hirotoshi, 1764–1826), a painter and poet who was also a house elder of the Matsumae domain. It was created in the aftermath of an Ainu uprising in the eastern Ezo districts of Kunashiri and Menashi in the fifth month of Kansei 1 (1789). After the completion of the set, which took a whole year, it was first taken to Kyoto, where it was viewed by Confucian scholars, court nobles, and finally Emperor Kōkaku.In those days, the Tokugawa shogunate was increasingly vigilant against foreign ships such as Russia approaching the Ezo districts.The Ishū retsuzō paintings represent the Ainu chiefs as loyal vassals (kōshinzu) in the same manner as the Kenjō no sōji, a set of wall panels for the Shishinden Hall in the imperial palace in Kyoto. Based on that style, trade goods and products of Ezo are elaborately depicted in a manner resembling natural history illustrations. This choice of mode, following the Kenjō no sōji, suggests that the intention was to convey loyalty to the emperor. Moreover, the preface and the appendices by Matsumae Hironaga also reiterate the Matsumae domain’s position as “the keystone of defense in the north.”Utilizing these “Ezo” paintings by the rising artist Hakyō, the main purpose of this project must have been to introduce the Matsumae’s cultural maturity to the emperor, whom the domain lord admired, as well as to court nobles and the most famous Confucian scholars of the day in Kyoto, thus further strengthening ties between Kyoto, with the imperial court, and the Matsumae domain.

著者

白石 恵理

出版者

近世京都学会

雑誌

近世京都 (ISSN:21886709)

巻号頁・発行日

no.5, pp.23-42, 2022-09-20 (Released:2022-10-22)

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Ishū retsuzō is a set of portraits of twelve Ainu chiefs-painted by Kakizaki Hakyō (Kakizaki Shōgen Hirotoshi, 1764–1826), a painter and poet who was also a house elder of the Matsumae domain. It was created in the aftermath of an Ainu uprising in the eastern Ezo districts of Kunashiri and Menashi in the fifth month of Kansei 1 (1789). After the completion of the set, which took a whole year, it was first taken to Kyoto, where it was viewed by Confucian scholars, court nobles, and finally Emperor Kōkaku. In those days, the Tokugawa shogunate was increasingly vigilant against foreign ships such as Russia approaching the Ezo districts. The Ishū retsuzō paintings represent the Ainu chiefs as loyal vassals (kōshinzu) in the same manner as the Kenjō no sōji, a set of wall panels for the Shishinden Hall in the imperial palace in Kyoto. Based on that style, trade goods and products of Ezo are elaborately depicted in a manner resembling natural history illustrations. This choice of mode, following the Kenjō no sōji, suggests that the intention was to convey loyalty to the emperor. Moreover, the preface and the appendices by Matsumae Hironaga also reiterate the Matsumae domain’s position as “the keystone of defense in the north.” Utilizing these “Ezo” paintings by the rising artist Hakyō, the main purpose of this project must have been to introduce the Matsumae’s cultural maturity to the emperor, whom the domain lord admired, as well as to court nobles and the most famous Confucian scholars of the day in Kyoto, thus further strengthening ties between Kyoto, with the imperial court, and the Matsumae domain.

著者

佐々木 利和

出版者

近世京都学会

雑誌

近世京都 (ISSN:21886709)

巻号頁・発行日

vol.6, pp.101, 2023-09-20 (Released:2023-10-02)

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This research note analyzes an Ainu hunting colored picture by Matsuura Takeshirō (1818-1888), a well-known explorer of Ezo (Hokkaido), newly discovered by Professor Matsuda Kiyoshi among uncatalogued materials in the Yamamoto Dokushoshitsu (読書室) collection. The painting is a hansetsu (height 140.5 cm, width 31.6 cm) of gasen paper, owned by Yamamoto Ayao. On the reverse, the author’s name “松浦武四郎” (Matsuura Takeshirō) is written in ink, seemingly in the handwriting of Ayao. The san inscription is a waka poem, “Namimakura ukitomo shirazu ukineshite yowataru michizo kokoro yasukere” (Sleeping with your head on the waves, free from worldly worries, is the way to spend life, with a peaceful heart), written in ink by Takeshirō on the upper part of the piece. The rakukan inscription is “多気志絵” (Takishi e, drawn by Takeshi, Taki county). The rakukan-in seal reads “古春” (Koshun, old spring), a previously- unseen mark. The year of production is not given. The painting was probably a gift to Ayao or his father, Yamamoto Bōyō, teacher of Kakeshirō in Chinese classics and natural history.

著者

勝盛 典子

出版者

近世京都学会

雑誌

近世京都 (ISSN:21886709)

巻号頁・発行日

vol.6, pp.1-99, 2023-09-20 (Released:2023-10-02)

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In the collection “Materials related to Akashi Hiroakira donated by Mr. Akashi Hiro’omi, ” in the Kyoto Institute, Library and Archives, there is a hanging scroll of the “Portrait of Hippocrates” (Frontispiece 1) for which the Dutch scholar Udagawa Yōan (1798-1846) wrote a Dutch inscription. It is based on the copperplate illustration of Historische kronyck (Leiden 1698) by Johann Ludwig Gottfried (1584-1633), and is similar to the copperplate portrait of Hippocrates held by Waseda University Library, which was introduced in Ogata Tomio’s The Praise of Hippocrates in Japan (1971). However, in the case of this work, the painting is by ink on paper, and Udagawa’s inscription is written in pen. Akashi Hiroakira (1839-1910), the former owner of the scroll, was a bureaucrat in Kyoto Prefecture for about 10 years from 1870, devoting himself to scientific and technological education and the development of the medical system. This article discusses the “Portrait of Hippocrates” owned by Akashi. A description of the work (hereafter, “Akashi version”) is given here:

著者

冨田 良雄 尾上 瑞宝 下出 祐太郎

出版者

近世京都学会

雑誌

近世京都 (ISSN:21886709)

巻号頁・発行日

vol.3, pp.1-17, 2019 (Released:2023-07-26)

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We investigated the two long ikanbari telescopes, one is a private collection in Nagasaki and another is owned by the Kobe city museum, with special interest on the traditional technique of ikanbari telescope tube. As a result, both telescopes were produced by Hirai Ikan Sen'oshi family, and presented to the eighth shogun Yoshimune Tokugawa as a pair of telescope. Those two telescopes are the frst astronomical telescope produced in Japan.

著者

冷泉 為人

出版者

近世京都学会

雑誌

近世京都 (ISSN:21886709)

巻号頁・発行日

no.1, pp.9-30, 2014 (Released:2020-12-29)

著者

冨田 良雄 尾上 瑞宝 下出 祐太郎

出版者

近世京都学会

雑誌

近世京都 (ISSN:21886709)

巻号頁・発行日

no.3, pp.1-17, 2019 (Released:2020-09-02)

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We investigated the two long ikanbari telescopes, one is a private collection in Nagasaki and another is owned by the Kobe city museum, with special interest on the traditional technique of ikanbari telescope tube. As a result, both telescopes were produced by Hirai Ikan Sen'oshi family, and presented to the eighth shogun Yoshimune Tokugawa as a pair of telescope. Those two telescopes are the frst astronomical telescope produced in Japan.