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酒井抱一編『乾山遺墨』をめぐって : 抱一から見た光琳と乾山の作品
http://hdl.handle.net/10959/00005458
http://hdl.handle.net/10959/00005458e0ff4236-27da-463c-b6f4-1a8c0a229037
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
jinbunkagaku_30_71_100.pdf (914.8 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2022-07-05 | |||||
| タイトル | ||||||
| タイトル | 酒井抱一編『乾山遺墨』をめぐって : 抱一から見た光琳と乾山の作品 | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | サカイ ホウイツ ヘン ケンザン イボク オ メグッテ ホウイツ カラ ミタ コウリン ト ケンザン ノ サクヒン | |||||
| 言語 | ja-Kana | |||||
| タイトル | ||||||
| タイトル | A Study of Sakai Hoitsu : Kenzan Iboku | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 酒井抱一 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 尾形乾山 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 尾形光琳 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 酒井宗雅 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 銹絵寿老人図角皿 | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 著者 |
新井, ゆい
× 新井, ゆい× Arai, Yui |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Kenzan Iboku is a woodblock-printed book compiled by painter Sakai Hoitsu and published in 1823. This book is significant as it commemorates and honors the work of Ogata Kenzan for appreciation in the contemporary times. Traditionally, this book has been discussed in the context of Kenzan’s acceptance by Kenzan researchers and in the context of Hoitsu’s recognition by Hoitsu researchers. The publication process of this book conforms to an afterword and has been recognized to be an extension of Korin Hyakuzu; however, the role of Kenzan Iboku and other production intentions have not been sufficiently explored by scholars. This paper examines Hoitsu’s interest in Kenzan up until the publication of this book. In particular, it points out that this curiosity gradually grew from a young age to his later years. First, I examine a document belonging to Sakais and discuss the conditions under which they sold Kenzan’s work. The Sakai family owned the work of “Kenzan Iboku” but not of Kenzan. Moreover, the Sakai family was hardly interested in Inuiyama works. However, Soga, his brother, drew Inuiyama’s work depicting the tea ceremony. It appears that Soga was more interested in Kenzan’s pottery than Hoitsu’s. Next, I analyze illustrations of pottery appearing in Kenzan Iboku and compare them with the Kenzan’s existing pottery. The depiction of Kenzan’s pottery is inaccurate in this book as Hoitsu’s knowledge of Kenzan’s work was limited by his access to accurate information. In contrast, Hoitsu illustrated Korin’s pottery work perfectly. Conversely, it is evident from this book that Hoitsu was more curious about Korin than Kenzan. The final chapter focuses on the mutual cooperation between Hoitsu and Sahara Kiku in the publishing and management of Mukojima Hyakkaen. Since 1804, Hoitsu created artworks for Kenzan’s book and wrote Chinese poetry. In his youth, Hoitsu learned about Kenzan while studying about Korin and was inspired by Kiku and his interest in Kenzan. He erected a tombstone for Kenzan and called himself “Kenzan IV” and published Kenzan Iboku, which is regarded as a valuable piece of evidence revealing the transition of Hoitsu’s interest in Kenzan if compared with his activities from the early days to his later years. |
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| 書誌情報 |
ja : 学習院大学人文科学論集 en : Gakushuin University studies in humanities 号 30, p. 71-100, 発行日 2021-10-30 |
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| 出版者 | ||||||
| 出版者 | 学習院大学大学院人文科学研究科 | |||||
| 言語 | ja | |||||
| ISSN | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 09190791 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN10398283 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | application/pdf | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
