2026-03-12T05:04:32Z https://kansai-u.repo.nii.ac.jp/oai

oai:kansai-u.repo.nii.ac.jp:02001314 2024-04-15T06:21:21Z 528:1721:1722:1711939375369

池大雅『東山清音帖』とその八景の配列 Arrangement of the Xiaoxiang Eight Views in Ike no Taiga’s “Tozan Seiincho” 高, 絵景 Gao, Huijing 高 Gao 絵景 Huijing open access Ikeno Taiga Tozan Seiincho Xiaoxiang eight views Four Seasons’ landscape 池大雅 東山清音帖 瀟湘八景 四季絵 関西大学 Kansai University In the Edo period, in the work “Tozan Seiincho” by the literati painter Ike no Taiga, the order of the “Xiaoxiang Eight Views” and the combination of poetry and painting have not been clearly recorded. Consequently, when exhibiting the “Tozan Seiincho” or publishing it in catalogs, the arrangement of the Eight Views is quite confusing. This paper focuses on “Tozan Seiincho” and examines the order of the Xiaoxiang Eight Views. First, we examined the relationship between the Xiaoxiang Eight Views and the four season landscape painting in Japan, and then focused on Taiga’s “Xiaoxiang Eight Views Folding Screen” and “Xiaoxiang Shenggai Folding Screen” for the analysis. Taiga narrowed down the composition of the Eight Views and discovered an important feature of mixing the “Four Seasons’ Landscape Painting” and the Eight Views. In addition, we analyzed the composition of the Eight Views in “Tozan Seiincho,” and after considering their order and the imitating motifs which combined the seasonal expressions of the traditional Japanese painting and matching them to screens, fusuma, or the unique Japanese painting formats, we found them to be a key for the reception of Xiaoxiang Eight Views in Japan. 関西大学大学院東アジア文化研究科 2024-03-31 jpn departmental bulletin paper VoR https://doi.org/10.32286/0002001314 http://hdl.handle.net/10112/0002001314 https://kansai-u.repo.nii.ac.jp/records/2001314 10.32286/0002001314 AA12327433 18827748 東アジア文化交渉研究 = Journal of East Asian cultural interaction studies 17 137 152 https://kansai-u.repo.nii.ac.jp/record/2001314/files/KU-1100-20230331-11.pdf application/pdf 2 MB 2024-04-11