5 月 2 日（木）サロン・プロジェクト オンラインワークショップ

プログラム１

江戸時代後期の合作書画の作例紹介－制作の場や関係者に注目して－

岩佐 伸一（Iwasa Shin'ichi）
　江戸時代後期には、京都、大坂、江戸の三都はもとより、全国各地で多くの合作書画が制作されたが、現時点では、その研究は深められていない。そのためか、根拠が示されないままに、合作書画を揮毫した人物の交流の結果によるものとされる場合がある。確かに、そのような作例もあるが、制作の契機や完成に至る過程は、文字資料の裏付けがない限り不明な場合が多い。今回は、多少なりとも制作の背景や場が明らかになる作例と文献資料を紹介し、合作書画をとりまく様々な事情を示す。

Introducing examples of collaborative calligraphy and painting in the late Edo period--focusing on production space, participants and related figures In the late Edo period, a large number of joint works of calligraphy and painting were produced in Kyoto, Osaka and Edo, as well as in other parts of the country. However, at present, research into these works is yet to be developed. Perhaps for this reason, it is sometimes assumed--without evidence--that these collaborative works resulted from interactions and friendship among the artists involved. There certainly are such examples, but in many cases, the impetus for production and the process of completing the work remain unclear unless supported by textual material. This presentation will introduce collaborative painting examples and documentary evidence that would shed light on the backgrounds and settings of production, demonstrating diverse circumstances surrounding these collaborative creations.
(Translated by Sophie Gong)

プログラム２

渡辺南岳と中村芳中の江戸行―俳諧と絵画の交流

杉本欣久（Sugimoto Yoshihisa）
　江戸時代後期、上方の画風を江戸に伝えた画家として、円山派の渡辺南岳(1767～1813)と尾形光琳風の絵をよくした中村芳中(?～1819)を挙げることができる。南岳は円山応挙とその高弟・源琦に学んだ京都の画家で、享和 2 年(1802)から文化元年(1804)の足掛け 3年にわたって江戸に滞在した。一方の芳中は、筆の代わりに指を用いて描く指頭画家として大坂で活躍し、南岳に先んずる寛政 11 年(1799)末から享和 2 年(1802)まで江戸に足跡を残している。江戸における彼らの交流には重なる人脈が認められ、仙台出身で医を業とした鈴木道彦(1757～1819)や浅草で札差業を営んだ夏目成美(1749～1816)など俳諧の結びつきは、むしろ絵画以上に大きかった。今回のワークショップでは特に俳諧の側面からスポットをあて、二人の活躍について論じることとする。

Watanabe Nangaku and Nakamura Hōchū going to Edo--Communication through haikai and painting Watanabe Nangaku (1767-1813) of the Maruyama school and Nakamura Hōchū (?-1819), who followed the style of Ogata Kōrin, are well known as painters who introduced the Kamigata style to Edo in the late Edo period. Nangaku is a Kyoto painter who studied under Maruyama Ōkyo and his highly regarded pupil Genki. He stayed in Edo for three years, from 1802 to 1804. Hōchū, on the other hand, was active in Osaka and was known as a painter, who used his fingers to paint instead of a brush. He left his mark in Edo from the end of 1799 to 1802, prior to Nangaku's journey. They had overlapping personal connections in Edo; their connection building through haikai was apparently even more significant than that through painting, involving poets such as Suzuki Michihiko (1757-1819), a doctor from Sendai, and Natsume Seibi (1749-1816), a rice broker in Asakusa. This presentation will discuss these two artists' activities emphasising particularly haikai factors in their career development.
(Translated by Sophie Gong)