| Articles |
| Japanease Title |
長崎版画としての《姑蘇石湖倣西湖勝景》 |
| English Title |
Lake Shi of Suzhou Modelled after West Lake Scenery Considered as a Nagasaki Print |
| Author |
塚原 晃
, Tsukahara Akira
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7 - 21
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| 文化財種別 |
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{{Citation|first=晃|last=塚原|contribution=長崎版画としての《姑蘇石湖倣西湖勝景》|title=神戸市立博物館研究紀要|date=2018-03-31|url=https://sitereports.nabunken.go.jp/114990|ncid=AN10177091|volume=34}}
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| Abstract |
2016年、中国の蘇州美術館で展示された《姑蘇石湖倣西湖勝景》は、乾隆期に制作された蘇州版画の代表作として扱われたが、その制作地についてはかねてから意見が分かれていた。本稿では、蘇州版画の都市景観図の特徴と、その日本への伝播の状況を踏まえて、画中に描かれた景観表現と描写技法の特徴から、《姑蘇石湖倣西湖勝景》が十八世紀後半の長崎で制作されたことを明らかにする。
Lake Shi of Suzhou Modelled after West Lake Scenery is a large woodblock print that depicts a bird's eye view of the city of Suzhou. Because this print has no inscription identifying the printer or the place of production, there are two different opinions on where it was produced. One view is that this print was created in Suzhou, which was the most prosperous Chinese city in the eighteenth century. However, some researchers are of the view that the print was created in Nagasaki in the late eighteenth century. The purpose of this essay is to show that the expressive techniques and scenery depicted in the print lend support to the latter view.
Suzhou prints produced in the eighteenth century were known for their representations of bird's eye views of the city, adopting the perspective of a Western style painting. At first glance, Lake Shi of Suzhou Modelled after West Lake Scenery appears to be one of these Suzhou prints. However, the details expressed do not reflect an accurate perspective in their depiction of the positional relationship of each motif. The drawing techniques and the kinds of features depicted are not thought to be those associated with Suzhou prints. Rather, this print is similar to those produced by Toshimaya, a printmaker who was active in Nagasaki during the late eighteenth century. Toshimaya's technique was to connect two sheets of printed paper to produce the entire composition. The use of this method has never been seen in Suzhou prints, whereas another bird's eye view print produced using a method attributed to Toshimaya suggests that this Japanese printmaker produced both prints.
Lake Shi of Suzhou Modelled after West Lake Scenery depicts Lake Shi, the Hanshan temple, and the cityscape around the area of Changmen Gate in Suzhou, as if these three places were adjacent to each other. In fact, they are scattered at some distance from each other.
This print's' title, ‟Lake Shi of Suzhou Modelled after West Lake Scenery”, probably indicates the artist's intention of comparing the scenic beauty of Suzhou with that of Hangzhou, the old capital city facing West Lake, which was famous not only in China but also in Japan.
However, a problematic issue is the print's depiction of a tower rising up in the center of the scene. This tower bears the inscription ‟Hanshan Temple.” In fact, Hanshan Temple burnt down in 1711 and had entirely lost its influence in the eighteenth century. The Suzhou artists and printmakers are highly unlikely to have considered this dilapidated temple to be a landmark of Suzhou. Hanshan Temple was famous because of references to it in an ancient poem of the Tang dynasty and from medieval times onward, it was familiar to many Japanese. The image in the print is that of a stunning temple that did not match the reality of the existing temple. Thus, it can be concluded that the print was an unexpected but genuine expression of the admiration felt by the Japanese for Suzhou, which was the largest East Asian city at the time. |
| Japanease Title |
中世争乱の舞台としての有馬ー落葉山城を中心にー |
| English Title |
Arima as the Stage of Medieval Conflict, with a Focus on Ochibayama Castle |
| Author |
三好 俊
, Miyoshi Shun
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22 - 32
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{{Citation|first=俊|last=三好|contribution=中世争乱の舞台としての有馬ー落葉山城を中心にー|title=神戸市立博物館研究紀要|date=2018-03-31|url=https://sitereports.nabunken.go.jp/114990|ncid=AN10177091|volume=34}}
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| Abstract |
神戸市北区の有馬は、日本有数の温泉地であるとともに、長い歴史を伝える地域でもある。その発展は、特に中世にみられ、織豊期における豊臣秀吉による支配を経てピークを迎える。しかし、温泉地として発展していく一方、有馬は中世の争乱に巻き込まれることとなった。その舞台の一つに、現在は遺構のみが確認できる落葉山城がある。落葉山城は、限られた範囲ではあるが文献史料においても動向をみることができ、特に三好宗三が城主であった天文年間に起こった合戦の様子がわかる。この合戦は、三好氏や別所氏といった摂津・播磨国に拠点を置く勢力の争いの中に位置づけられる。三好宗三が退城した後、落葉山城は有馬氏の支配下となり、重要拠点からは外れることとなった。織田信長の侵攻に備え整備が行われるものの、有馬は近隣地域とともに平定され、役目を失った落葉山城は廃城となった。有馬は、古文書・記録、または近世の地誌類によって歴史をひも解くことができ、温泉地としての発展だけにとどまらず分析を加えることで、より広範囲の歴史像を復元できるものと考える。
Arima, which is located in Kita Ward of the city of Kobe, is one of Japan's leading hot spring resorts, with a long history. The main phase of its development occurred during the Middle Ages, peaking alter it came under the control of Toyotomi Hideyoshi during the second half of the sixteenth century. However, Arima was at the center of disputes during the period of its development as a spa area. One of the scenes of these disputes was Ochibayama Castle, only the ruins of which remain. Historical documents, though limited, also reveal that Ochibayama Castle was the scene of conflict. There is evidence of a battle that occurred in the first half of the sixteenth century when Miyoshi Sosan was the castle's owner. This battle was fought by forces based in Settsu and Harima. After Miyoshi Sosan's departure, Ochibayama Castle came under the control of the Arima family and was no longer an important base. Ochibayama Castle was kept in a state of readiness for the invasion of Oda Nobunaga, but Arima and neighboring areas were decimated and Ochibayama Castle was abandoned. Arima's history can be deciphered by consulting ancient historical documents and records and by examining the geographical features of the Edo period. I believe that a wider range of historical images can be retrieved through an analysis that is not confined to Arima's development as a hot spring resort. |
| Japanease Title |
〈修理報告〉重要文化財 絹本著色織田信長像 |
| English Title |
Restoration Report on the Portrait of Oda Nobunaga designated as lmportant Cultural Property |
| Author |
石沢 俊
, Ishizawa Shun
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| Pages |
33 - 57
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wikipedia 出典テンプレート :
{{Citation|first=俊|last=石沢|contribution=〈修理報告〉重要文化財 絹本著色織田信長像|title=神戸市立博物館研究紀要|date=2018-03-31|url=https://sitereports.nabunken.go.jp/114990|ncid=AN10177091|volume=34}}
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| Abstract |
近年当館が実施した重要文化財 絹本著色織田信長像 (天正11年賛) の解体修理報告。当館の資料保存の取り組みとして、本修理の概要とそこで得られた知見の報告を目的としている。解体修理で得られた知見は大きく二つある。ひとつは裏彩色がよく残っていた上、表裏を同系色で塗り分けていたことが判明した。さらに、表面の汚れ除去によって、束帯の木瓜紋が明瞭となった。本図は後世の修理で上畳などに補筆が認められるが、京都・大雲院本との比較から制作当初はより装飾が施されていた可能性がある。歿後間もない遺像として、本図が信長像のひとつの規範となった可能性を指摘し、さらなる考察の端緒とするものである。
The Portrait of Oda Nobunaga (dated to 1583), which is designated as Important Cultural Property, was recently restored by the Kobe City Museum. This report outlines the restoration process and presents observations relating to the preservation of this work. The first observation relates to the use of Ura-zaishiki (reverse coloring) in the painting. The colors that were applied on the reverse side of the silk have been well preserved and have not faded. In addition, the portrait was painted using the same color types on the front and the back. Second, after the painting had been cleaned, the Mokko-mon (the Oda family's crest) on the Sokutai (full traditional ceremonial court dress) was clearly visible. Brushwork was applied to restore damaged parts of the painting. Compared with the other portrait of Nobunaga Taiun-in, Kyoto, owned, the portrait of Nobunaga in Kobe may originally have been more decorative. As suggested in this report, which presents the first findings of ongoing research on the portraits of Nobunaga, it is possible that the memorial portrait in Kobe is part of a canon of portraits of Nobunaga. |
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