@article{oai:glim-re.repo.nii.ac.jp:00005468,
 author = {今村, 采香 and Imamura, Ayaka},
 issue = {30},
 journal = {学習院大学人文科学論集, Gakushuin University studies in humanities},
 month = {Oct},
 note = {application/pdf, Soami（?～1525）, who was active in the latter half of the Muromachi period, contributed greatly to the formation of the value system of art, like Noami and Geiami. In “Kanrinkoroshu”, it is called “Kokko Soa” and it is assumed that he had a high level of artistic skill. However, stylistic research based on works is still in progress because there are few certified works.
The meaning of this study is that it is important to consider the style of Soami not only for Soami himself, but also for elucidating the Ami school, which is generally known for its soft drawing method, and for following the development of Muromachi ink painting. Until now, Soami’s “Eight Views of Xiaoxiang”（Daisenin Temple, Daitokuji, deposited at the Kyoto National Museum）and “Landscape of the four seasons”（Metropolitan Museum of Art）were considered to have similar styles. However, according to the pattern analysis, “Landscape of the four seasons” has less consciousness of Muqi and Yujian than the “Eight Views of Xiaoxiang”. It is thought that this is an example that Soami goes one step further than the brush-like production what was being done at that time, and it is necessary to pay attention to “Four seasons Landscape” in order to consider the Soami style.
As a research method, a graphic comparison was used. I extracted from “Landscape of the four seasons” a space with the same scenery as the part where “Eight Views of Xiaoxiang” was pointed out to be similar to Muqi and Yujian in the previous research, and compared the spatial composition and how to drew the motif.
The results indicated that as “Eight Views of Xiaoxiang” became “Landscape of the four seasons”, the drawing method was gradually unified to a softer one. In addition, “Landscape of the four seasons” had a part that cleverly shifted the spatial composition similar to Muqi’s work into the shape of Xia Gui. In addition, it was found that not only Xia Gui but also various painting styles such as The Mifa shanshui style are put together under a soft drawing method.
From the analysis results, Soami associates with the quotations and similarities of the figures, and it is probable that Soami’s aim was also there. Various “Hitsuyo” are put in the figures so that it is not noticeable, and invites the association of viewers who are familiar with Karae. This is probably something that only Doho, who knows all about Karae owned by the Muromachi Shogunate, can do.},
 pages = {39--70},
 title = {相阿弥様式への一試論 : 筆様より統合へ},
 year = {2021},
 yomi = {イマムラ, アヤカ}
}