歌仙絵における文字表記:――〈左右〉の意識と左書きの来歴――  [in Japanese] A Peculiar Composition of Poems and Pictures in the Portraits of the Great Poets  [in Japanese]

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Abstract

<p>歌仙絵の文字表記は、時代とともに多様化する。後代に受け継がれる業兼本三十六歌仙絵の書式は、歌合を志向したもので、その系譜に左方の歌を左から書く形が登場する。俊忠本等の資料に基づけば、その左書きの由来は歌合の場における声への関心にあり、受け継がれる中世の扁額では神への奉納と関わっていた可能性も窺われる。後代定着する顔の向きに添う書字方向の規則など、対幅書画等先例との相関を含め、改めて問い直されてよい。</p>

<p>Some versions of the collected portraits of the thirty-six great poets are edited after the style of the Narikane edition, in which the poems are written from left to right on the left side of the pictures. According to Fujiwara-no-Toshitada, this arrangement is made in order to vividly represent the poets' voices in <i>waka</i> competitions. Or it is also likely that it was modeled on the calligraphy of "hengaku," a wooden tablet dedicated to gods in medieval times. This article will examine the peculiar style of the Narikane edition in relation to the standard arrangement of writing and picture, the pattern of a pair of pictures, and other editorial compositions.</p>

Journal

  • Japanese Literature

    Japanese Literature 63(7), 35-44, 2014

    Japanese Literature Association

Codes

  • NII Article ID (NAID)
    130007681880
  • NII NACSIS-CAT ID (NCID)
    AN00197092
  • Text Lang
    JPN
  • ISSN
    0386-9903
  • NDL Article ID
    025560416
  • NDL Call No.
    Z13-438
  • Data Source
    NDL  J-STAGE 
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