@article{oai:kansai-u.repo.nii.ac.jp:00012609,
 author = {カラヴァエヴァ, ユリヤ},
 journal = {東アジア文化交渉研究 = Journal of East Asian cultural interaction studies},
 month = {Mar},
 note = {The article deals with the artworks of Ike Taiga, belonging to his middle and late period of artistic creation, particularly to his thirties and forties. Taiga's middle period landscapes show a relatively united stylistic expression, when a tendency towards constructing a subdivided form created from the small elements dominates in artist's visual language. However, starting from the forties, inconsistent and various techniques can be seen, which resonates with Taiga's early artistic period. Moreover, the late artworks of forties include rather synthetic images, in which Taiga's personal interpretations are incorporated. It is widely recognized that Taiga's stylistic completion was achieved after he reached his forties. On the other hand, this statement can be applied to his large-scale works like fusuma sliding doors and byobu decorative screens, whereas in small-scale paintings, such as fans and scrolls Taiga's exquisite skills can be seen already from his twenties. During the whole Taiga's artistic career the artworks relating to bunjinga literati painting appear from time to time, but it can not be said that the painter intentionally and continuously decided to take bunjinga stylistic direction. He got an inspiration from Chinese originals and picture albums, incorporated some brushwork techniques from Chinese literati painters, but all these sources, especially in late period, were adopted in order to create a personal images that show Taiga's individual interpretations., 文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点, [東アジアの言語と表象]},
 pages = {123--144},
 title = {池大雅の中期と晩期作品 : 寛延3年(1750)から明和8年(1771)まで},
 volume = {12},
 year = {2019}
}