著者

辻 惟雄

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.29, no.3, pp.49, 1978-12-30 (Released:2017-05-22)

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As has long been discussed from various points of view, a close relationship exists between art and play. The materials for such discussions, however, have been limited for the most part to the works of western arts. In this paper I would like to point out that such materials have also abundantly existed throughout the history of Japanese painting. In proof of the existence of play moment in Japanese art, at first we shall focus our attention on paintings in the late Heian Period, especially Oko-e, the extempore caricature drawings-executed in a light and easy style-which were popular among 11th century aristocrats. These Oko-e served as the model for later comic descriptions found in master handscroll works in the 12th century such as "Shigisan-engi Emaki", "Chojugiga", "Jigoku-zoshi" and so on, because of their fluencies and vividnesses in describing style. Secondly is considered in this paper the existence of the curious art critic known as "Enan-ho" ("Picture-Accusing Priest") who played the clown at Court, works of pornographic caricature called Osokuzu-no-e, and the trompe-l' 〓il of waterfall which was painted on the wall of a noble's hermitage for the purpose of astonishing guests. Finally we might point out that the spirit of playfulness also existed vividly in paintings of the Edo Period.