YOKOYA Ken'ichiro (Ōtsu City Museum of History) 横谷賢一郎（大津歴史博物館）

Two years ago, a collection of late Edo period haikai surimono from an old family in Ōtsu was identified. The family produced many haiku poets for generations and had been involved in maintaining Gichū-ji temple, where Matsuo Bashō's (1644-1694) grave is located. Out of 281 illustrated surimono prints, 40 feature designs by Nakajima Raishō, with 20 different designs (there are some identical surimono). Raishō's works were the most by a single artist within the group, indicating a special relationship between Raishō and the haikai community in Ōtsu.

This presentation will examine a selection of high-quality haikai surimono prints with designs in the style of shasei (sketch from life) by Raishō. Unlike 'double swordsman type' artists such as those in the lineage of Yosa Bunson (1716-1784) or Go Shun (1752-1811) , who were adept at both painting and haiku, Raishō kept his purely sketch-based style while engaging with haiku compositions himself and fostering ties with haiku communities and salons.

I will first introduce examples of Raishō haikai surimono highlighting their elaborate designs. I would also like to point out that the majority of surimono were commissioned by prominent haiku poets within the Ōtsu haikai community. Additionally, I will present information about Raishō as an artist based on historical records and examine the factors that connected him with Ōtsu.

The first factor is the connection between Maruyama Ōkyo (1733-1795) and Gichū-ji temple, via Enman-in Imperial temple within Onjō-ji temple precincts in Ōtsu. Yūjō, an imperial prince in holy orders at Enman-in, was a key supporter of Ōkyo's artistic career. One of the monks who served Yūjō at Enman-in, Nishinobō Kogekkyo (1756-1825), was an amateur haiku poet and later became a supporter of both Raishō and Gichū-ji temple. Thus, Enman-in links the Maruyama school and Gichū- ji temple.

Secondly, Raishō was a resident of Ōtsu from 1814 to 1823, which can be confirmed through Heian jinbutsu shi (Record of People in Heian [Kyoto]) and related historical documents.

Thirdly, during his time in Ōtsu, Raishō attended several times the annual 'Shigure-e' at Gichū-ji temple, a ritualistic haiku memorial gathering dedicated to Bashō on his death date. Raishō contributed his haiku alongside leading members of the Ōtsu haikai community. That signifies that Raishō had become a member of the group. The significant number of haikai surimono he produced, as we have seen above, are further evidence.

Raishō was an artisanal-type Maruyama-school artist, who adhered to sketching-from-life-style painting. It is evident that close relationships with the haiku world were essential for his business. Raishō's activities suggest that even as an artist/ craftsman of painting, he could not do without haiku and interactions through salon-like gatherings.

一昨年前、大津の旧家（代々俳人を輩出し、芭蕉の墓所である義仲寺の維持に関わってきた）から、江戸時代後期の俳諧摺物がまとまって確認された。絵入 281 枚のうち、中嶋来章下絵になる

ものは 40 枚、画題別では 20 件、絵師別では最多であった。これは、来章と大津の俳人・俳壇が特別な関係を築いていたことを物語る。

本発表では、蕪村系・呉春系など、俳画風も手がける画俳二刀流の画人とは異なり、純然たる写生画の作風を保ちつつ、俳諧や俳壇サロンとの親交によって生み出された、来章下絵の質の高い写生画系俳諧摺物について触れる。

まず、俳諧摺物の具体例と、その凝った誂えぶりを紹介する。それと共に、摺物の発注者の大部分が、句会興行を主宰する大津俳壇の有力俳人である点を指摘したい。あわせて、史料の確認による絵師来章の情報を示す。そこから、来章と大津を結ぶ要因を考察する。

まず、一つ目は、園城寺山内の円満院（大津市）を起点とした円山応挙と義仲寺の縁である。円満院門跡の祐常は、応挙に画業のターニングポイントをもたらした重要な支援者であるが、そこで関りを持った円満院の坊官、西坊敲月居は、のちに来章および義仲寺の支援者となる俳人であった。ここでまず円山派と義仲寺がつながる。

二つ目は、来章が、文化 11 年（1814）から文政６年（1823）まで、大津在住であった点について

『平安人物志』及び関係史料によって確認する。

そして三つ目は、来章が大津在住期間に、義仲寺で開催される芭蕉忌日の奉納句会「時雨会」に列席しており、しかも大津俳壇の重鎮と連中で句集に入集している事実である。つまり、来章は大津俳壇連中となっていたのである。まとまった数の俳諧摺物はその証左である。

写生画様式で仕事を貫徹した職人的な円山派絵師の来章であっても、文芸世界との関わりなくして仕事なし、であったことを作品や史料から窺うことができる。絵師・画工といえど、文人的素養やサロン的交流からは免れなかった、と来章の動きは示唆しているのである。

動画　(要パスワード)