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        <identifier>oai:glim-re.repo.nii.ac.jp:00005467</identifier>
        <datestamp>2023-08-16T01:53:27Z</datestamp>
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        <jpcoar:jpcoar xmlns:datacite="https://schema.datacite.org/meta/kernel-4/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcndl="http://ndl.go.jp/dcndl/terms/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:jpcoar="https://github.com/JPCOAR/schema/blob/master/1.0/" xmlns:oaire="http://namespace.openaire.eu/schema/oaire/" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rioxxterms="http://www.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xs="http://www.w3.org/2001/XMLSchema" xmlns="https://github.com/JPCOAR/schema/blob/master/1.0/" xsi:schemaLocation="https://github.com/JPCOAR/schema/blob/master/1.0/jpcoar_scm.xsd">
          <dc:title xml:lang="ja">曾我蕭白筆「虎溪三笑図」の主題と表現に関する一考察</dc:title>
          <dc:title xml:lang="ja-Kana">ソガ　ショウハク　ヒツ　コケイ　サンショウズ　ノ　シュダイ　ト　ヒョウゲン　ニ　カンスル　イチ　コウサツ</dc:title>
          <dc:title xml:lang="en">On Soga Shohaku’s “The Three Laughers at Tiger Ravine”</dc:title>
          <jpcoar:creator>
            <jpcoar:creatorName xml:lang="ja">印田, 由貴子</jpcoar:creatorName>
            <jpcoar:creatorName xml:lang="ja-Kana">インデン, ユキコ</jpcoar:creatorName>
          </jpcoar:creator>
          <jpcoar:creator>
            <jpcoar:creatorName xml:lang="en">Inden, Yukiko</jpcoar:creatorName>
          </jpcoar:creator>
          <jpcoar:subject subjectScheme="Other">曾我蕭白</jpcoar:subject>
          <jpcoar:subject subjectScheme="Other">虎渓三笑</jpcoar:subject>
          <jpcoar:subject subjectScheme="Other">廬山</jpcoar:subject>
          <jpcoar:subject subjectScheme="Other">山水画</jpcoar:subject>
          <jpcoar:subject subjectScheme="Other">水墨画</jpcoar:subject>
          <datacite:description descriptionType="Other">application/pdf</datacite:description>
          <datacite:description descriptionType="Abstract">Soga Shohaku made many ink paintings in his later years. “The Three Laughers at Tiger Ravine” is a standard painting at the time and it is considered to be a unique example among the numerous painting of the time. At first glance, this painting looks like a landscape, but if you look closely, it is a historical figure.Researchers have pointed out that the trick is enjoying intellectual play between the shohaku and the viewer. However, there are some peculiar ways of drawing.
The style and method of drawing motifs carefully using hard contours that do not make you feel the movement of the brush is the same as the ink paintings of the same time. But the rules in the traditional landscape ink-painting are violated. Conventionally, the farther you go, the light the ink. But the farthest mountain using darker ink than the one in the foreground.The mountains, which are drawn to fill the screen, have slightly different drawing methods. Cloud smoke and trees are arranged to separate the screen. The screen is divided in this way and it is formed so that these overlap. Such a thorough screen composition is not seen in paintings with similar tricks at the same time. Such a composition is considered to be related to the theme of this painting. The drawing method was changed, and each part separated by cloud smoke and trees corresponds to the Mount Xianglu and waterfall, Wulaofeng, Torinji, etc., and each is themed. This painting is not only “The Three Laughers at Tiger Ravine”, but the whole of Lushan including it.And it is thought that these drawing methods and compositions were adopted to enable viewers who are knowledgeable about this to recall multiple themes. Multiple themes about Lushan are shown by skillful screen composition, including their relationships.</datacite:description>
          <dc:publisher xml:lang="ja">学習院大学大学院人文科学研究科</dc:publisher>
          <datacite:date dateType="Issued">2021-10-30</datacite:date>
          <dc:language>jpn</dc:language>
          <dc:type rdf:resource="http://purl.org/coar/resource_type/c_6501">departmental bulletin paper</dc:type>
          <oaire:version rdf:resource="http://purl.org/coar/version/c_970fb48d4fbd8a85">VoR</oaire:version>
          <jpcoar:identifier identifierType="HDL">http://hdl.handle.net/10959/00005456</jpcoar:identifier>
          <jpcoar:identifier identifierType="URI">https://glim-re.repo.nii.ac.jp/records/5467</jpcoar:identifier>
          <jpcoar:sourceIdentifier identifierType="NCID">AN10398283</jpcoar:sourceIdentifier>
          <jpcoar:sourceIdentifier identifierType="PISSN">09190791</jpcoar:sourceIdentifier>
          <jpcoar:sourceTitle xml:lang="ja">学習院大学人文科学論集</jpcoar:sourceTitle>
          <jpcoar:sourceTitle xml:lang="en">Gakushuin University studies in humanities</jpcoar:sourceTitle>
          <jpcoar:issue>30</jpcoar:issue>
          <jpcoar:pageStart>1</jpcoar:pageStart>
          <jpcoar:pageEnd>37</jpcoar:pageEnd>
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            <jpcoar:URI label="jinbunkagaku_30_1_37.pdf" objectType="fulltext">https://glim-re.repo.nii.ac.jp/record/5467/files/jinbunkagaku_30_1_37.pdf</jpcoar:URI>
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            <jpcoar:extent>1.1 MB</jpcoar:extent>
            <datacite:date dateType="Available">2022-07-05</datacite:date>
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