カテゴリー: 日本画

横山大観
東海の朝
1937（昭和12）年頃　紙本彩色･軸装　75.5×107.5cm

Taikan Yokoyama
Morning in the East Sea
Around 1937 (Showa 12) Color on paper, mounted on a scroll 75.5 × 107.5 cm

青々とした松の木々が悠々と伸び、その後方には朝日を浴びた白い砂浜が広がっています。大観独自の風格ある簡潔な表現によって、壮大な空間が感じられます。

1937（昭和12）年、大観は第一回文化勲章を受章しました。本作品もその頃に描かれた意欲作の一つです。大観は日本画壇を牽引しながらも、終生日本画の新しい可能性を追求し続けました。

The lush green pine trees stretch out majestically, and behind them, a white sandy beach bathed in the morning sun spreads out. Through Taikan's unique, dignified, and concise expression, a grand space is felt.

In 1937, Taikan received the first Order of Culture. This work is one of the ambitious pieces created around that time. While leading the Japanese art world, Taikan continued to pursue new possibilities in Japanese painting throughout his life.

川合玉堂
漁村夕照
昭和10（1935）年頃 絹本彩色・額装　65.0×91.0cm

Gyokudo Kawai
Fishing Village at Sunset
Around 1935 (Showa 10) Color on silk, framed 65.0 × 91.0 cm

夕日が降り注ぐ海に幾艘も浮かぶ舟。帆を下ろしたそれらの舟は漁を終えて帰ってきたところでしょうか、夕暮れの大気の広がりが海辺の村を包み、情緒あふれる風景が描き出されています。本作は、中国で伝統的に画題となってきた｢瀟湘八景（しょうしょうはっけい）｣（中国･湖南省の瀟水と湘江の合流する辺りの景勝。山水画を通して日本にも広まった）の一つ｢漁村夕照｣を画題としています。手前の濃墨で描かれた松林は、絹本独特の柔らかな滲みによって風景に溶け込んでいます。夕暮れに染まる山々や遠景に柔らかく広がる暈しは玉堂が若い頃に学んだ円山四条派の影響でしょうか、手前の松林から斜め奥へと続く構図は、宋の画家･馬遠に学んだ玉堂の特徴の一つであり、大きく取られた余白は雄大な自然の広がりを感じさせます。

Several boats float on the sea bathed in the setting sun. These boats, with their sails lowered, seem to have returned from fishing. The expansive evening atmosphere envelops the seaside village, creating a picturesque scene. This work takes its theme from "Eight Views of Xiaoxiang," a traditional Chinese subject depicting the scenic area around the confluence of the Xiao and Xiang rivers in Hunan Province, which also became popular in Japanese landscape painting. The pine forest in the foreground, drawn with dark ink, blends into the landscape through the soft blurring unique to silk paintings. The mountains dyed in the evening glow and the softly spreading blur in the background reflect the influence of the Maruyama-Shijo school, which Gyokudo studied in his youth. The composition, extending diagonally from the pine forest in the foreground to the back, is characteristic of Gyokudo's learning from the Song dynasty painter Ma Yuan. The large blank spaces evoke the vastness of nature.

松林桂月
白萩
1953（昭和28）年頃　絹本墨画淡彩、額装　47.0×56.0cm

Keigetsu Matsubayashi
White Bush Clover
Around 1953 (Showa 28) Ink and light color on silk, framed 47.0 × 56.0 cm

白く小ぶりな花をつけた萩が墨の濃淡を生かして描かれています。その前には、淡い色彩によるススキが秋風に揺れるようにすっととらえられています。どちらも秋の風物として、和歌などにもたびたび詠われてきました。

作品右下に記された漢詩には「流水冷冷何処岸　夕陽浴浴幾家村」とあり、秋の夕暮れ時、村の家々に夕日が降り注ぐ情景が目に浮かぶようです。そこには、白い花と故郷山口の萩を重ねて、東京で制作に打ち込む桂月の心情が込められているのかもしれません。

The bush clover with small white flowers is depicted using the shades of ink. In front of it, the pampas grass, captured in light colors, sways gently in the autumn breeze. Both are typical autumn motifs, often celebrated in waka poetry.

The Chinese poem inscribed at the bottom right of the work reads, "Where does the cold stream flow? The setting sun bathes the village houses." This evokes the scene of the village houses bathed in the evening sun during autumn. It may reflect Keigetsu's feelings, combining the white flowers and the bush clover of his hometown Yamaguchi, while he dedicated himself to his work in Tokyo.

松林桂月
牡丹
1955（昭和30）年頃　絹本墨画淡彩･額装　49.0×56.0cm

Keigetsu Matsubayashi
Peony
Around 1955 (Showa 30) Ink and light color on silk, framed 49.0 × 56.0 cm

はじめに塗った墨が乾く前に別の色や墨を重ねる｢たらし込み｣の技法で、雨に洗われた牡丹の清らかな姿が描き出されています。胡粉（ごふん）を花弁にのみ少量たらし込むことで花弁の重なりが省略され、雨に潤う牡丹のようすを巧みに捉えています。南画を学んだ桂月には珍しく線描を用いずに描いているため、伸びやかでやわらかな表現が一層際立ち、淡い墨で彩られた静かな情景のなかに優美な趣を秘めています。

The technique of 'tarashikomi,' where another color or ink is applied before the first layer dries, is used to depict the pure appearance of peonies washed by rain. By applying a small amount of gofun (white pigment) only to the petals, the overlapping of the petals is simplified, skillfully capturing the appearance of peonies moistened by rain. Unusually for Keigetsu, who studied Nanga (Southern School painting), this work is drawn without using line drawing, making the expression more fluid and soft, and enhancing the elegant charm within the quietly colored scene in light ink.

小林古径
草花
1951（昭和26）年　紙本彩色･軸装　48.7×63.5cm

Kobayashi Kokei
Flowers and Plants
1951 (Showa 26), color on paper, mounted on a scroll, 48.7 x 63.5 cm

梶田半古に師事した古径は、伝統的な日本画の教育を受けると同時に、写生ということを非常に重んじた師の教えを受け、写実の基礎を固めました。1922（大正11）年、日本美術院の留学生として前田青邨とともに渡欧した折には、大英博物館で伝顧愷之『女史箴図巻』の｢春蚕の糸を吐くが如き描線｣に感銘を受けました。東洋古画のもつ繊細かつ強靭な線描へと傾倒しながら、｢実物の性格や機能、形や色や量、更にはその生命までも知り尽くそう｣という写実精神にもとづくことで、古径の芸術は形成されていきます。

本作は古径晩年の作です。チューリップの茎や花弁には肥痩（線の細い太い）のない線描がみられます。その厳しい線描は、抑制された色彩や理知的な構成、余白のぼかしと相俟って黒いチューリップの生命力を見事にあらわしているといえるでしょう。

Kokei, who studied under Kajita Hanko, received traditional Japanese painting education while also emphasizing sketching, a principle highly valued by his teacher, thus solidifying his foundation in realism. In 1922, when he traveled to Europe with Maeda Seison as a student of the Japan Art Institute, he was impressed by the "silk thread-like lines" of Gu Kaizhi's "Admonitions of the Instructress to the Court Ladies" at the British Museum. While being drawn to the delicate yet robust linework of ancient Eastern paintings, Kokei's art was formed based on the spirit of realism, aiming to fully understand the character, function, shape, color, volume, and even the life of the subject.

This work is from Kokei's later years. The stems and petals of the tulips exhibit linework without variation in thickness. This strict linework, combined with restrained colors, intellectual composition, and blurred margins, beautifully expresses the vitality of the black tulips.