鉄心斎文庫蔵「伊勢物語画帖」について

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タイトル別名
  • Positioning The Tales of Ise in the Tshhinsai Bunko Collection
  • テッシンサイブンコゾウ イセ モノガタリ ガジョウ ニ ツイテ

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The Tesshinsai Bunko Ise Monogatari Bunkakan in Odawara city, Kanagawa prefecture, is well known for its collections regarding The Tales of Ise. The single-volume The Tales of Ise Album (hereafter referred to as Tesshinsai version) is one of these works. It is thought that the paintings in the album were created by Tosa Mitsunobu and the text passages were brushed by Konoe Nobutada, as indicated by the inscription on the inside of the storage box lid. Not much attention has been accorded to the Tesshinsai version, and there have been no thorough studies of the work. This article is an introduction to the Tesshinsai version and presents observations that will hopefully advance an understanding of its position with the history of art. First, the article provides an overview of the work. It then goes on to evaluate the attributions to Tosa Mitsunobu and Konoe Nobutada. Similarities can be noted between the Tesshinsai version paintings and the group of works known to have been painted by Tosa Mitsunobu. However, there are also pages within the album that are extremely close to works by Tosa Mitsumochi, Mitsunobu's son, and the workshop of Mitsumochi, such as the Taimadera Engi Emaki and the Kuwanomidera Engi Emaki. Further, in terms of the text passages, the Tesshinsai version has gold and silver painted decoration rather than gold leaf decoration on its the text papers, and thus the paper used in the painting is thought to date from around the Momoyama period. The calligraphy appears to have characteristics typical of Konoe Nobutada, as found in works such as the Screens of Assorted Poems from the Tale of Genji in the Yômei Bunko collection. Thus the author concluded that it is highly likely that the calligraphy is in fact that of Nobutada. Next, a comparison was made of scenes presented in various versions of The Tales of Ise paintings created up until the Momoyama period and the works in the Tesshinsai version, as a confirmation of their positioning within specific lineages of such works. As a result, the Tesshinsai version is seen to bear an extremely close relationship with the Chester Beatty Library version and the Suntory Museum of Art version. These two versions bear a close affiliation to the so-called Sagabon version that is considered to be the model for many Edo period examples. To be more specific, the Tesshinsai version appears to be the oldest copy version in this Sagabon lineage. This means that the Tesshinsai version must play a major role in future research on The Tales of Ise paintings. Given this chronology, the Tesshinsai version influenced many Tales of Ise paintings. Also, because it is considered that this work was painted by the Tosa Mitsumochi workshop, the Tesshinsai version stands as important material for the future study of the Tosa school. Finally, the Tesshinsai version was compared to the two Tales of Ise paintings created by Sumiyoshi Jokei, a painter who inherited and continued the Tosa school tradition. The comparison indicates that undoubtedly Jokei referred to the Tesshinsai version in the creation of his works. This connection also indicates the importance of the Tesshinsai version in the consideration of such issues as handing on models and copy works, and the development of Yamato-e iconography during the pre-modern period.

収録刊行物

  • 美術研究

    美術研究 (399), 1-36, 2010-01-07

    東京 : 国立文化財機構東京文化財研究所

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