「利用者:Kareha/したがき2」の版間の差分
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*元京都市臨濟宗大本山相國寺藏
[[w:伊藤若冲|伊藤若冲]]は、京都の人なり、初の名は春教、後、汝釣と改む、其家、野菜を賣るを以て業とせしが、天性繪事を好み、初め狩野派の一畫工を師として其技を修め、後自ら支那元明(西暦第十三世紀の央より第十七世紀の央までの間)の名匠に私淑し、又蒔繪の妙工[[w:尾形光琳|尾形光琳]]の筆意をも參酌して、一種の畫風を創めたり、其最も得意とせし所は花鳥にして、就中鷄の寫生に在り、此に出せるものは元相國寺の所藏にして今や御物となれる有名なる三十幅中の二幅なるが、若冲がこの三十幅を
== Gan (A Bird of Pussage, A Wild-Goose) and Ayu (Small Fishes) in the Lotus Pond. ==
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'''Itô Jaku-chû''' was a vegetable-seller of Kyôto. From childhood he was very fond of painting and learned the art from an artist of the Kanô school. Afterwards he studied the style of those famous artists of Yuen and Ming of China (from the middle of the 13th century to the middle of the 17th century); besides imitating a famous painter on lacquer named Kô-rin, to whom we have refereed already, afterward he originated quite a new style of his own. What he was most skilled in was life-like sketches of birds and flowers.
The two ''Kakemono'' we have before us from a series of thirty altogether and belonged formerly to Shô-koku-ji, the head temple of the Zen sect, of Kyôto but now are in the possession of the Imperial Household, being bought by Imperial Order. The whole series was executed in three years by the author
He was very skillful in painting cocks and hens. He used to keep and feed in person some twenty or thirty cocks and hens in order to use them as models for his painting. It was not the form and shape but the life and spirit that he thus strove to depict. When he grew old he retired to the neighbourhood of Seki-hô-ji of Fuka-kusa, Kyôto and became a pupil of Haku-jun, the head priest of Man-puku-ji or Ô-baku-san. He died in 1800 A.D. in his 85th year of age. When any one asked him to paint a cock, he requested first a bushel of rice. His retired hut was called the To-bei-an (the hut of a bushel of rice).
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