@article{oai:glim-re.repo.nii.ac.jp:00004794,
 author = {新井, ゆい and Arai, Yui},
 issue = {28},
 journal = {学習院大学人文科学論集, Gakushuin University studies in humanities},
 month = {Oct},
 note = {application/pdf, Ogata Kōrin’s “Box with fan-shaped paintings,” an important cultural property at the Museum Yamato Bunkakan, has twelve fan-face paintings affixed to it. Research has thus far focused on the paintings by Kōrin to the exclusion of the overall design of the box.This article rather offers new perspectives on the box by considering it in its entire form.
　Featured on this box are motifs associated with “Saigyō” and “Hakurakuten”, which are derived from the “Illustrated Biography of the Monk Saigyō” and the Noh song “Hakurakuten.” These two stories have several similarities. First, both are “utamonogatari”（poem-tales）. Second, both “utamonogatari” feature scenes of a journey. “Saigyō” and “Mount Fuji” are reminiscent of “Fuji-mi Saigyō” because they are pasted as a set. In addition, the set of “Hakurakuten” and “Dragon” reminds the viewer of the story’s development in the Noh song “Hakurakuten.” The fixed form of “Fuji-mi Saigyō” and “Fujigoshi-Ryū”（“The Dragon Rising Over Mount Fuji”）has been popular since the later Edo period.
Therefore, the fan-face paintings are thought to have been put on the box thought in the late Edo period（1615─1868）, probably following the Hiroshi period.
　Next, by comparing this work with various early modern paintings and crafts, this article examines its sources of inspiration. Similarities of modeling can be seen with other maki-e boxes on which fan-face paintings were drawn, such as Senmen Harimaze Byōbu and Satsu-bako. The latter work has been compared to the fans. The comparison revealed that the expressive decision to divide fixed-form titles combining two motifs onto the front and back of a fan became popular at the end of the 18th century; thus further suggesting that the fan frames were pasted on after the late Edo period.
 The current form of the work owes to a later person who affixed the fans to the box. The work is decorated not only with the Rimpa style fan-face paintings and bold and luxurious gold, but also with craftwork indicative of later tastes; the added value of such features complicates our evaluation of this work.},
 pages = {1--33},
 title = {尾形光琳筆「扇面貼交手筥」に関する一試論 : 手筥媒体による画面展開},
 year = {2019},
 yomi = {アライ, ユイ}
}