HIRAI Yoshinobu (National Museum of Modern Art, Kyoto)　平井啓修（京都国立近代美術館）

Miyajima Shin'ichi stated in his article that '(the Shen Nanpin school) was generally not well received in the Kansai region.' On the other hand, Nakatani Nobuo has revealed in his publication that, through a comparative study of themes, motifs, designs and compositions, there are several works in Osaka that have their basis in Shen Nanpin's works.

This presentation introduces paintings in the style of the Nagasaki school created in Osaka and Kyoto, incorporating insights, which I gained through the curation of the 2022 special exhibition, Salon Culture and the Pictorial Arts of Kyoto and Osaka, held at the National Museum of Modern Art, Kyoto (MoMAK), as part of this joint international research project on Kyoto-Osaka salon culture. The spread of the Nagasaki school style into Kyoto and Osaka was undoubtedly considerable. Focusing on Nanpin-style paintings, I will discuss some objects from the British Museum collection and those exhibited in the ongoing British Museum special display 'City life and salon culture in Kyoto and Osaka, 1770-1900', while also examining the relationships among the artists in the late 18^th and 19^th centuries, thereby addressing their diverse interactions.

Yanagisawa Kien (1703-1758) played a crucial role in laying the groundwork for the reception of the Nanpin style in Kyoto and Osaka. Although Kien was a literati artist, he did not paint Southern-style landscapes, but instead created vibrant coloured paintings in the Northern-school style. Kien's creation predates the artist Kakutei (d. 1786), who brought the Nanpin style to Kyoto and Osaka. Kien, Kakutei, and Ike no Taiga (1721- 1776) all instructed Kimura Kenkadō (1736-1802) in painting. Moreover, Kakutei and Taiga nurtured a close personal friendship. It is known that in Kyoto, Maruyama Ōkyo (1733-1795) studied paintings by Nanpin, and passed his style onto many disciples. Gan Ku (d. 1839), who was active in the Kyoto art scene after Ōkyo's death, was particularly influenced by the Nanpin style. A similar design to Gan Ku's 'Cat catching a bird beneath a banana tree' from the British Museum collection, is found in Tōkei Gafu (Tōkei's Picture Album, 1787) by Ogura Tōkei (1748-1816). This would suggest that there was a certain model design in the Nanpin-style. Tōkei was a Nanpin-school artist from Sanuki (present- day Tokushima prefecture), who studied in Nagasaki and was active in both Osaka and Edo. The preface to Tōkei Gafu was written by Kenkadō, and his 'Landscape in the style of Mi Fu' in the Kansai University Library collection was painted for Tōkei. The painting has inscriptions by Confucian scholars Hosoai Hansai (1727-1803) and Okuda Genkei (1729－1807). These works will be examined in my presentation to support the argument that the influence of the Nanpin School in Kyoto and Osaka was significant.

宮島新一氏の「三都における南蘋画風の流伝」（『大和文華』No. 73）では、「（南蘋派は）総じて関西では不振であった」とされる。他方で、中谷伸生氏は『大坂画壇はなぜ忘れられたのか』の「大坂の長崎派についての再検討」において、画題やモティーフ、図様の比較を通じて、大坂画壇の作品の中には南蘋画を典拠とするものが存在することを明らかにされている。

本発表では、本共同研究の成果の一つとして 2022 年に開催した展覧会「サロン！雅と俗－京の大家と知られざる大坂画壇」によって得た知見を加えながら、大坂や京都で描かれた長崎派の絵画を紹介することで、京・大坂における長崎派の画風の広まりを明らかにする。本発表では南蘋風絵画を中心に、大英博物館所蔵作品やサロン展出品作品を取り上げ、それぞれの画家の関係性にも焦点を当てることで、当時の画家たちの多様な交友にも言及する。

京坂の地に南蘋風をもたらした鶴亭よりも早くから妍麗な北宗画的著色画を描いたのが、柳沢淇園であった。文人でありながら南宗画風の山水を描かず、濃彩な著色画を描いた淇園の作品は、京坂の地に南蘋風を受け入れる素地を作ったとも言える。淇園、鶴亭、池大雅の 3 名が蒹葭堂に絵の指導をしており、鶴亭と大雅も親しく交流するなど濃密な交友関係がある。京都では円山応挙が南蘋画から学んでいることが知られており、応挙の画風は多くの弟子たちへと受け継がれた。中でも応挙没後の京都画壇で活躍した岸駒は、南蘋画から強い影響を受けている。大英博物館所蔵の《芭蕉に猫図》に描かれる猫の姿は、讃岐出身の南蘋派画家である小倉東溪の『東溪画譜』の図様と酷似しており、典拠となる南蘋図様が存在すると考えられる。東溪は長崎で学び大坂や江戸で活躍した画家で、『東溪画譜』の序文は蒹葭堂が記しており、関西大学図書館所蔵の蒹葭堂《米法山水図》は、東溪のために描かれたものである。賛は儒者の細合半斎と奥田元継によって記されている。

動画　(要パスワード)