IWASA Shin'ichi (Osaka Museum of History)　岩佐伸一（大阪歴史博物館）

From the late 18th to the 19th century, the number of professional painters and calligraphers in Kyoto and Osaka increased considerably, as evidenced by contemporary directories such as the Heian jinbutsu-shi (Record of People in Heian [Kyoto]) and the Naniwa kyōyū roku (A Record of Fellow Osakans).

The emergence of numerous artists led to the rise of collectors who took an interest in the differences in styles and techniques of artworks. Among such collectors we find not only wealthy samurai and merchants but also commoners such as Nyoi Dōjin (active ca. 1800) from Ise and the Osaka painting mounter Matsumoto Hōji (d. 1800).

In the late 18^th to 19^th centuries, as production of paintings and calligraphy proliferated and popular demand increased, activities related to painting and calligraphy became more prominent. One such activity was calligraphy-and-painting gatherings (shoga-kai), akin to Western 'salons' in essence, where individuals connected through cultural bonds would gather, and artists would engage in impromptu creation of calligraphy and paintings. Both the artworks produced as a result and the act of creation itself became objects of appreciation. Another popular activity was exhibitions of paintings and calligraphy. Initially, exhibitions displayed works in line with the interests of participants of the gathering, who shared similar cultural aspirations. From the end of the 18th century onwards, however, new and diverse artworks were often exhibited in public venues for an unspecified broader audience. Moreover, a significant number of collaborative calligraphy and painting works (gassaku shoga) were created, where multiple artists would jointly create a single mounted scroll.

In this presentation, I will focus on collaborative calligraphy and painting works where the 'salon-like elements' are evident: such as when the artists were connected by cultural bonds, shared the same purpose in the creation of an artwork, possessed a certain level of skill worthy of appreciation, and collaborated in the same space. Specifically, I will present examples created in Kyoto and Osaka, such as the 'Seven Flowers of Autumn' created by professional painters of the Maruyama and Shijō schools, upon request from a chief retainer of the Hamada domain. Another example is the 'Spring View of Shōbusawa', created in collaboration between an Edo official, who was dispatched to Ikuno in Tajima province (present-day Hyōgo prefecture), and local important figures. These works, produced in Kyoto, Osaka, and nearby regions, will be used to elucidate the participants, their social statuses and the purposes of their collaborative creation.

Through this presentation, I aim to highlight the significance of collaborative works of calligraphy and painting, which have received little attention in art history study. I will present a case that they are valuable records for cultural and art historical studies.

18 世紀後半から 19 世紀にかけて、京坂で活動した絵画や書の制作を生業とした人々の数が、時代が下るにつれて増加したことは、当時の名鑑である『平安人物志』や『浪華郷友録』を見れば明らかとなる。

多数の制作者の出現は、作品の表現や技術的な差異に関心を寄せる収集家を輩出する。彼らのうちには富裕な武士や商人だけではなく、例えば、伊勢の如意道人、大坂の表具師松本奉時らのような庶民も含まれていた。

書画の制作が盛んになり、かつ需要が庶民に及んだ 18 世紀後半から 19 世紀には、それより前の時代にはさほど盛んではなかった書画に関係する行為が目立って行われるようになった。ひとつは書画会であり、本来的には、西洋の「サロン」にも似た、文化的紐帯を持つ人々が一堂に会した場において、制作者が書画の即興制作を行い、その成果としての書画とともに、制作行為そのもの も鑑賞の対象とされた。ついで書画の展観会の盛行も挙げられる。当初は、文化的志向を同じくする人々が集まった場において、参加者の関心に応じた書画を展示していたが、18 世紀末以降には、公開の場で、不特定多数を相手とした多様な新作の書画が展示されることが頻繁に行われた。さらには、複数の書画家によって、ひとつの軸装書画を完成させる「合作書画」が多数制作されたことを挙げることができる。

本発表では、合作書画の揮毫者が文化的紐帯を持ち、作品成立にあたって同じ目的を有し、鑑賞に値する水準の技芸を身に着け、揮毫の場を同じくするという「サロン的要素」が明らかな作品を中心に提示する。具体的には、浜田藩家老の招請に応じた円山派と四条派の職業絵師が手掛けた「秋七草図」など京坂の地で描かれた作品をはじめ、江戸から但馬国生野へ派遣された代官が、地域の有力者と共に揮毫した「菖蒲沢春景図」など、京坂とその周辺地域で作成された作例を提示し、参加者や身分、制作の目的などを明らかにする。

本発表を通じて、これまで美術史からは言及されることが少なかった合作書画について、文化史的には資料的価値のあることを明らかにし、研究対象としての価値があることを提起したい。

動画　(要パスワード)