Research on Colophons, Inscriptions and Paintings of Edo-Period Literati Artists : Taiga, Buson, and Koyo

江户时代文人画家大河、布村、红叶的版权页、铭文和绘画研究

• 批准号: 20720026
• 负责人: YOSHIDA Eri
• 金额: $ 1.5万
• 依托单位: Josai International University
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Young Scientists (B)
• 财政年份: 2008
• 资助国家: 日本
• 起止时间: 2008 至 2009
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-20720026/
• 关键词: 文人画; 題画文学; 池大雅; 与謝蕪村; 中山高陽; 画賛; 題跋; 粉本

For this study, I produced a database of fundamental research on Edo-period literati paintings. Although the importance of comprehensive research on paintings and colophons is recognized in the field of art history, there is still a need for more basic research, not only in the case of the acclaimed so-called major Japanese literati artists Ike no Taiga (1723-76) and Yosa no Buson (1716-84),but also the lesser known Nakayama Koyo (1717-80), who was active in Edo during the same period.In this research, I started with published references for Taiga's and Buson's works, created a database of painting subjects and inscriptions, and examined the most important works in person. As research on Nakayama Koyo and his works is less advanced than research on Taiga and Buson and their works, I researched all Koyo's works regardless of whether or not they have colophons or inscriptions. For the database on Koyo's works, I included research on paintings examined first-hand, fundamental bibliographi … More c research, as well as painting sketches or studies (funpon) in order to attain an overview of his oeuvre.As a result, I discovered that Taiga's painting subjects and inscriptions, although generally quite unusual and perceived as exotic during their time, occasionally overlap with painting subjects and inscriptions seen in works produced by artists of the Kano School, the orthodox painting tradition established during the Momoyama and early Edo periods that produced painting subjects and styles favored by the military elite. There are also many inscriptions in Taiga's paintings taken from Chinese verse that must have been readily available in printed publications of the time. Conversely in the case of Buson, for example his painting with the title "Iseki do unkon移石動雲根," there are many instances when his painting subjects and inscribed poems are unprecedented, during his time and after.In Nakayama Koyo's known works, there are a relatively large number of self-inscribed "true-view" paintings (shinkeizu) based on observed landscapes, but it could be said in general that there are more paintings featuring unusual ancient legendary or historical figure subjects in his oeuvre when compared to Taiga's or Buson's works. In addition, it could be said that Koyo's paintings, many of which are self-inscribed (rather than collaborative or inscribed by friends or acquaintances), functioned as a scholar's vehicle for personal self-expression.This study has gathered together fundamental data and materials for researching paintings with inscriptions by Taiga, Buson, and Koyo. Next comes the work of matching recorded inscriptions to extant paintings and conducting further research to analyze and interpret the relationships between texts and images in individual works. In this way, I hope my work will contribute to future research of Edo-period literati paintings. Less

For this study, I produced a database of fundamental research on Edo-period literati paintings. Although the importance of comprehensive research on paintings and colophons is recognized in the field of art history, there is still a need for more basic research, not only in the case of the acclaimed so-called major Japanese literati artists Ike no Taiga (1723-76) and Yosa no Buson (1716-84), but also the lesser known Nakayama Koyo (1717-80), who was active in Edo during the same period. In this research, I started with published references for Taiga's and Buson's works, created a database of painting subjects and inscriptions, and examined the most important works in person. As research on Nakayama Koyo and his works is less advanced than research on Taiga and Buson and their works, I researched all Koyo's works regardless of whether or not they have colophons or inscriptions. For the database on Koyo's works, I included research on paintings examined first-hand, fundamental bibliographi … More c research, as well as painting sketches or studies (funpon) in order to attain an overview of his oeuvre. As a result, I discovered that Taiga's painting subjects and inscriptions, although generally quite unusual and perceived as exotic during their time, occasionally overlap with painting subjects and inscriptions seen in works produced by artists of the Kano School, the orthodox painting tradition established during the Momoyama and early Edo periods that produced painting subjects and styles favored by the military elite. There are also many inscriptions in Taiga's paintings taken from Chinese verse that must have been readily available in printed printed publications of the time. Conversely in the case of Buson, for example his painting with the title "Iseki do unkon movable cloud roots," there are many instances when his painting subjects and inscribed poems are unprecedented, during his time and after. In Nakayama Koyo's known works, there are a relatively large number of self-inscribed "true-view" paintings (shinkeizu) based on observed landscapes, but it could be said in general that there are more paintings featuring unusual ancient or legendary historical figure subjects in his oeuvre when compared to Taiga's or Buson's works. In addition, it could be said that Koyo's paintings, many of which are self-inscribed (rather than collaborative or inscribed by friends or acquaintances), functioned as a scholar's vehicle for personal self-expression.This study has gathered together fundamental data and materials for researching paintings with inscriptions by Taiga, Buson, and Koyo. Next comes the work of matching recorded inscriptions to extant paintings and conducting further research to analyze and interpret the relationships between texts and images in individual works. In this way, I hope my work will contribute to future research of Edo-period literati paintings. Less