日本史30 Japanese history 30
元禄文化 Genroku
culture
松尾芭蕉(まつお・ばしょう)Matsuo Bashō(1644~1694)
井原西鶴(いはら・さいかく)Ihara Saikaku(1642~1693)
駆逐艦島風(しまかぜ)Destroyer Shimakaze (Island Wind)
駆逐艦島風(しまかぜ)Destroyer Shimakaze (Island Wind)
駆逐艦島風(しまかぜ)Destroyer Shimakaze (Island Wind)
駆逐艦島風(しまかぜ)Destroyer Shimakaze (Island Wind)は、日本海軍Imperial
Japanese Navyが太平洋戦争Pacific Warで運用した駆逐艦(くちくかん)Destroyer。
The destroyer Shimakaze
was a destroyer operated by the Japanese Navy during the Pacific War.
島風型駆逐艦(しまかぜがた・くちくかん)Shimakaze-class
destroyerの島風(しまかぜ)Shimakaze (Island Wind)は、舞鶴海軍工廠(まいづる・かいぐん・こうしょう)Maizuru Naval Arsenalで建造build。
The Shimakaze-class
destroyer Shimakaze was built at the Maizuru Naval Arsenal.
駆逐艦島風(しまかぜ)Destroyer Shimakaze (Island Wind)
戦艦陸奥(むつ)Battleship Mutsu
太平洋戦争Pacific War開戦による戦術の変更や水雷戦自体の可能性の低さ、手間のかかる生産から島風型駆逐艦(しまかぜがた・くちくかん)Shimakaze-class destroyerの量産計画は放棄され、駆逐艦(くちくかん)Destroyerの建造は秋月型駆逐艦(あきづきがた・くちくかん)Akizuki-class destroyersや松型駆逐艦(まつがた・くちくかん)Matsu-class destroyersに移行した。
The mass production plan
for Shimakaze-class destroyers was abandoned due to changes in tactics with the
outbreak of the Pacific War, the low possibility of torpedo warfare itself, and
time-consuming production, and destroyer construction was delayed until
Akizuki. Kizuki-class destroyers and Matsu-class destroyers.
1943年(昭和18年)6月8日には、戦艦陸奥(むつ)Battleship Mutsuの爆沈blow up and sinkに遭遇した。
On June 8, 1943, Encountered
the sinking of the battleship Mutsu.
駆逐艦島風(しまかぜ)Destroyer Shimakaze (Island Wind)
1943年(昭和18年)7月上旬よりアリューシャン諸島the Aleutian Islands方面に進出し、キスカ島撤退作戦the Kiska Island evacuation operationに従事した。
In early July 1943, she
advanced to the Aleutian Islands and engaged in the Kiska Island evacuation
operation.
1944年(昭和19年)6月中旬以降、大和型戦艦Yamato-class
battleshipsを護衛して渾作戦(こんさくせん)Operation Konやマリアナ沖海戦Battle of the Philippine Seaに従事する。
From mid-June 1944, she
escorted Yamato-class battleships and engaged in Operation Konsakusen and the
Battle of the Marianas.
1944年(昭和19年)10月中旬以降、レイテ沖海戦Battle
of Leyte Gulfに参加する。
From mid-October 1944,
she participated in the Battle of Leyte Gulf.
駆逐艦島風(しまかぜ)Destroyer Shimakaze (Island Wind)
オルモック湾 Ormoc bay
1944年(昭和19年)11月11日、駆逐艦島風(しまかぜ)Destroyer Shimakaze (Island Wind)はオルモック湾Ormoc bayで米軍機動部隊艦載機U.S. military task force carrier-based aircraftの攻撃を受け(多号作戦(たごうさくせん)Battle of Ormoc Bay)、駆逐艦長波(ながなみ)Destroyer Naganami(夕雲型駆逐艦Yugumo-class destroyer)、駆逐艦若月(わかつき)Destroyer Wakatsuki(秋月型駆逐艦Akizuki-class destroyer)、駆逐艦浜波(はまなみ)Destroyer Hamanami(夕雲型駆逐艦Yugumo-class destroyer)等と共に撃沈された。
On November 11, 1944, the
destroyer Shimakaze was attacked by U.S. military task force carrier-based
aircraft in Ormoc Bay (Operation Tagousakusen), and the destroyer Shimakaze She
was sunk along with the destroyer Ganami (Yugumo-class destroyer), destroyer
Wakatsuki (Akizuki-class destroyer), and destroyer Hamanami (Yugumo-class
destroyer).
井原西鶴(いはら・さいかく)Ihara Saikaku(1642~1693)
第8章 Chapter 8
幕藩体制の展開
Development of the
Shogunate system
第4節 Section 4
元禄文化(げんろく・ぶんか)
Genroku culture
山崎宗鑑(やまざき・そうかん)Yamazaki
Sōkan(1465~1553)
荒木田守武(あらきだ・もりたけ)Arakida
Moritake(1473~1549)
文芸(ぶんげい)Literature
俳諧(はいかい)Haikai
室町後期the late
Muromachi periodの山崎宗鑑(やまざき・そうかん)Yamazaki Sōkan・荒木田守武(あらきだ・もりたけ)Arakida Moritakeに始まる俳諧連歌(はいかい・れんが)Haikai rengaの後を受けて、江戸前期the early Edo periodに発展developedを見た。
It developed in the early
Edo period, following the haikai renga (haikai renga) that began with Sokan
Yamazaki and Moritake Arakida in the late Muromachi period.
松永貞徳(まつなが・ていとく)Matsunaga
Teitoku(1571~1653)
貞門(ていもん)Teimon
江戸初期the early Edo
periodに京都(きょうと)Kyotoの松永貞徳(まつなが・ていとく)Matsunaga Teitoku(1571~1653)は、俗語slangを用い滑稽humorousを主題themesとする貞門俳諧(ていもん・はいかい)Teimon haikaiの一派schoolを開き、上方(かみがた)Kamigataの町人townspeople・武士samuraiの間に受け入れられた。
In the early Edo period,
Teitoku Matsunaga (1571-1653) of Kyoto founded a school of Teimon haikai that
used slang and had humorous themes, and he created a school of haikai that used
slang and had humorous themes. was accepted between.
It was accepted among the
townspeople and samurai of Kamigata.
西山宗因(にしやま・そういん)Nishiyama
Sōin(1605~1682)
談林(だんりん)Danrin
大坂Osakaの西山宗因(にしやま・そういん)Nishiyama Sōin(1605~1682)は貞門派(ていもんは)Teimon schoolの形式styleを破り、町人生活the lives of townspeopleを題材にした軽妙な作風light and airy styleをもつ談林風(だんりん・ふう)Danrin styleを始めたが、これもやがて奇抜な着想novel ideasに重点がおかれて低俗化vulgarした。
Nishiyama Soin
(1605-1682) of Osaka broke away from the Teimonha style and began the Danrinfu
style, a light and airy style that dealt with the lives of townspeople. However,
this too eventually became vulgar as more emphasis was placed on novel ideas.
松尾芭蕉(まつお・ばしょう)Matsuo Bashō(1644~1694)
蕉風(しょうふう)(正風)Shofu
元禄the Genroku
periodのころ、松尾芭蕉(まつお・ばしょう)Matsuo Bashō(1644~1694)は談林風(だんりん・ふう)Danrin styleに飽き足らず、叙情的lyricalで象徴的symbolicな短詩型short poem-typeの庶民芸術popular artとしての俳句(はいく)Haikuを完成perfectedして、蕉風(しょうふう)(正風)Shofuを確立establishedした。
Around the Genroku
period, Matsuo Basho (1644-1694) was not satisfied with Danrinfu, and perfected
Haiku as a lyrical and symbolic short poem-type popular art. (Shofu) (Shofu)
was established.
松尾芭蕉(まつお・ばしょう)Matsuo Bashō(1644~1694)
松尾芭蕉(まつお・ばしょう)Matsuo Bashōは風雅(ふうが)eleganceを旨とし、「さびSabi」「しおりShiori」「ほそみHosomi」などの幽玄ethereal・閑寂(かんじゃく)tranquilの境地realmsから、さらに一歩進めて、庶民的通俗性popular vulgarityをより高い芸術的な世界higher artistic worldに実現していくという「軽みlight」の俳境(はいきょう)state of haikuに到達した。
Basho's philosophy was
elegance, and he went one step further from the ethereal and tranquil realms of
``Sabi,'' ``Shiori,'' and ``Hosomi,'' and realized the popular vulgarity into a
higher artistic world. I have reached the ``light'' state of haiku.
『奥の細道(おくの・ほそみち)Oku no Hosomichi』
句集haiku collectionに『猿蓑(さるみの)Sarumino』・『曠野(あらの)Arano』・『炭俵(すみだわら)Sumidawara』・『冬の日(ふゆのひ)Fuyu no Hi』などの七部集(しちぶしゅう)seven-part collection、紀行文travelogueには『奥の細道(おくの・ほそみち)Oku no Hosomichi』・『更科紀行(さらしな・きこう)Sarashina Travelogue』・『野ざらし紀行(のざらし・きこう)Nozarashi Travelogue』などがある。
The haiku collection is a
seven-part collection such as ``Sarumino'', ``Arano'', ``Sumatawa'', and ``Fuyu
no Hi'', and the travelogue is ``Oku no Hosomichi''. '', ``Sarashina Travelogue'',
and ``Nozarashi Travelogue''.
宝井其角(たからい・きかく)Takarai
Kikaku
服部嵐雪(はっとり・らんせつ)Hattori Ransetsu
向井去来(むかい・きょらい)Mukai Kyorai
内藤丈草(ないとう・じょうそう)Naitō Jōsō
すぐれた門弟10人the 10 outstanding disciplesを蕉門十哲(しょうもん・じってつ)Shōmon jittetsuと呼び、其角(きかく)Kikaku・嵐雪(らんせつ)Ransetsu・去来(きょらい)Kyorai・丈草(じょうそう)Jōsōらとするが決定的ではない。
It was decided that the 10
outstanding disciples would be called the Shomon Jitetsu, including Kikaku,
Ransetsu, Kyorai, and Joso. Not the point.
浅井了意(あさい・りょうい)Asai Ryōi
小説(しょうせつ)Novel
仮名草子(かな・ぞうし)Kanazōshi
室町期the Muromachi
periodのお伽草子(おとぎ・ぞうし)Otogi-zōshiの系統をひく仮名書きの通俗小説popular novel written in kanaである仮名草子(かな・ぞうし)Kanazōshiは、江戸初期the early Edo periodに流行した。
Kana Zoshi, a popular
novel written in kana that is descended from Otogi Zoshi of the Muromachi
period, became popular in the early Edo period.
これは道徳的教訓書moral lessonsや地誌topography・名所記famous places、または役者の評判記reviews of actorsなど雑多な内容と形式をもっている。
These have a variety of
contents and formats, such as moral lessons, topography and famous places, and
reviews of actors.
『浮世物語(うきよ・ものがたり)Ukiyo monogatari』
『可笑記(かしょうき)Kashoki』・『仁勢物語(にせ・ものがたり)Nise Monogatari』・『竹斎(ちくさい)Chikusai』・『東海道名所記(とうかいどう・めいしょ・き)』など数多くの作品があるが、なかでも浅井了意(あさい・りょうい)Asai Ryōiの『浮世物語(うきよ・ものがたり)Ukiyo monogatari』は、仮名草子(かな・ぞうし)Kanazōshiから浮世草子(うきよ・ぞうし)Ukiyo-zōshiへの過渡的な位置transitional positionを占める特異な作品unique workである。
There are many works such
as ``Kashoki'', ``Nise'', ``Chikusai'', and ``Tokaido Meishoki'', among them
Ryo Asai. ``Ukiyo Monogatari'' (I) is a unique work that occupies a
transitional position from Kana Zoshi to Ukiyo Zoshi.
井原西鶴(いはら・さいかく)Ihara Saikaku(1642~1693)
浮世草子(うきよ・ぞうし)Ukiyo-zōshi
浮世草子(うきよ・ぞうし)Ukiyo-zōshiは、井原西鶴(いはら・さいかく)Ihara Saikaku(1642~1693)の『好色一代男(こうしょく・いちだい・おとこ)Kōshoku Ichidai Otoko』(1682年刊行)をもって始めとされる。
Ukiyo Zoshi is said to have
begun with ``Koshoku Ichidai Otoko'' (published in 1682) by Ihara Saikaku
(1642-1693).
『好色一代男(こうしょく・いちだい・おとこ)Kōshoku Ichidai Otoko』
井原西鶴(いはら・さいかく)Ihara Saikakuは町人merchantsを作品の主人公the protagonistsとし、遊里leisureや商業commerceの世界the worldに生きるliving赤裸々な現実の姿the naked
realityを、徹底した現実肯定affirmation of realityの立場に立ち、鋭い観察sharp observationsと新しい表現方法new expression methodsと文体writing stylesでとらえている。
Ihara Saikaku uses
merchants as the protagonists of his works, and captures the naked reality of
living in the world of leisure and commerce from a position of thorough
affirmation of reality, using sharp observations and new expression methods and
writing styles. ing.
『日本永代蔵(にっぽん・えいたいぐら)Nippon Eitaigura』
その作品には『好色一代男(こうしょく・いちだい・おとこ)Kōshoku Ichidai Otoko』・『好色一代女(こうしょく・いちだい・おんな)The Life of an Amorous Woman』・『好色五人女(こうしょく・ごにん・おんな)The Lustrous Five Women』などの好色物(こうしょく・もの)lewd works、『日本永代蔵(にっぽん・えいたいぐら)Nippon Eitaigura』・『世間胸算用(せけん・むねさんよう)Sekenmune Sanyo』などの町人物(ちょうにん・もの)town figures、『武道伝来記(ぶどう・でんらいき)Budo Denraiki』・『武家義理物語(ぶけ・ぎり・ものがたり)Buke Giri Monogatari』などの武家物(ぶけ・もの)がある。
His works include lewd
works such as ``The Lustful Ichidai Otoko'', ``The Lustful Ichidai Onna'', and
``The Lustrous Five Women'', ``Nippon Eitaigura'', and ``Sekenmune Sanyo''.
There are town figures such as ``Budo Denraiki'' and samurai stories such as
``Buke Giri Monogatari.''
江島其磧(えじま・きせき)Ejima Kiseki
井原西鶴(いはら・さいかく)Ihara Saikakuのあと、作品に見るべきものはなかったが、江島其磧(えじま・きせき)Ejima Kisekiが『世間子息気質(せけん・むすこ・かたぎ)Seken Musuko Katagi』・『世間娘容気(せけん・むすめ・かたぎ)Seken Musume Katagi』などの気質物(かたぎ・もの)Katagimonoを書いて注目される。
After Ihara Saikaku,
there was nothing worth seeing in his works, but Ejima Kiseki wrote ``Musuko
Katagi'' and ``Secular Girl Katagi.'' He attracts attention by writing about
his temperament.
人形浄瑠璃(にんぎょう・じょうるり)Ningyō jōruri
芸能(げいのう)Entertainment
浄瑠璃(じょうるり)Jōruri
室町時代末期the end of
the Muromachi periodにおこった浄瑠璃(じょうるり)Jōruriが、江戸時代the Edo periodに入って、三味線(しゃみせん)Shamisenと操人形(あやつり・にんぎょう)Puppetが一体となって演じられる人形浄瑠璃(にんぎょう・じょうるり)Ningyō jōruriとなり、庶民the common peopleに歓迎された。
Jōruri, which originated
at the end of the Muromachi period, became Ningyo Jōruri in the Edo period, in
which shamisen and puppets were performed together, and it was welcomed by the
common people. Ta.
竹本義太夫(たけもと・ぎだゆう)Takemoto
Gidayū(1651~1714)
元禄the Genroku
periodの頃、大坂Osakaに竹本義太夫(たけもと・ぎだゆう)Takemoto Gidayū(1651~1714)がでて、義太夫節(ぎだゆう・ぶし)Gidayū-bushiと呼ばれる独特の曲調unique musical styleを創始した。
Around the Genroku
period, Takemoto Gidayu (1651-1714) appeared in Osaka and created a unique
musical style called Gidayu Bushi.
近松門左衛門(ちかまつ・もんざえもん)Chikamatsu
Monzaemon(1653~1724)
竹本義太夫(たけもと・ぎだゆう)Takemoto
Gidayūは1684年(貞享1年)、大坂Osaka道頓堀(どうとんぼり)Dōtonboriに竹本座(たけもとざ)Takemoto-zaを創設し、専属の作者the exclusive author近松門左衛門(ちかまつ・もんざえもん)Chikamatsu Monzaemon(1653~1724)の作品worksを相次いで上演performedし、好評を博したwell received。
Takemoto Gidayu founded
Takemoto-za in Dotonbori, Osaka in 1684, and created the exclusive author
Chikamatsu Monzaemon (1653-1724). His works were performed one after another
and were well received.
『曽根崎心中(そねざき・しんじゅう)The Love Suicides at Sonezaki』
『国性爺合戦(こくせんや・かっせん)The Battles of Coxinga』
代表作として、町人社会the society of townspeopleの出来事eventsを扱った世話物(せわ・もの)Sewamonoに『曽根崎心中(そねざき・しんじゅう)The Love Suicides at Sonezaki』・『心中天網島(しんじゅう・てんのあみじま)The Love Suicides at Amijima』・『女殺油地獄(おんなごろし・あぶらの・じごく)The Woman-Killer and the Hell of Oil』・『冥途の飛脚(めいどの・ひきゃく)The Courier for Hell』など、歴史を題材historical themesにした時代物(じだい・もの)Jidaimonoに『国性爺合戦(こくせんや・かっせん)The Battles of Coxinga』・『曽我会稽山(そが・かいけいざん)Soga Kaikeizan』・『出世景清(しゅっせ・かげきよ)Shusse Kagekiyo』などがある。
Representative works
include "Sonezaki Shinju", "Shinjuten no Amijima", and
"Onna Murder Hell", which deal with events in the society of
townspeople. Period pieces with historical themes such as ``Goroshi Aburano
Jigoku'' and ``Meido no Hikyaku'', ``Kokusen Ya Kassen'' and ``Soga Examples
include ``Sogaka Keizan'' and ``Shusse Kagekiyo''.
竹本采女(たけもと・うねめ)Takemoto
Uneme(豊竹若太夫(とよたけ・わかたゆう)Toyotake Wakatayu)
弟子discipleの竹本采女(たけもと・うねめ)Takemoto Uneme(豊竹若太夫(とよたけ・わかたゆう)Toyotake Wakatayu)も1703年(元禄16年)豊竹座(とよたけざ)Toyotake-zaをおこし、座付作者the exclusive author紀海音(きの・かいおん)Ki no Kaionをおいて、竹本座(たけもとざ)Takemoto-zaとともに人形浄瑠璃(にんぎょう・じょうるり)Ningyō jōruriの最盛期the peakを築いた。
His disciple Takemoto
Uneme (Toyotake Wakatayu) also established the Toyotake-za in 1703 (Genroku
16), and created the za-zuke author Kino Kaion. ), together with Takemoto-za,
established the peak of Ningyo Joruri.
阿国歌舞伎(おくに・かぶき)Okuni Kabuki
女歌舞伎(おんな・かぶき)onna kabuki・傾城歌舞伎(けいせい・かぶき)keisei kabuki
若衆歌舞伎(わかしゅかぶき)Wakashu
Kabuki
歌舞伎(かぶき)Kabuki
阿国歌舞伎(おくに・かぶき)Okuni Kabukiは女性womenを中心とする女歌舞伎(おんな・かぶき)onna kabukiであったが、1629年(寛永6年)、幕府(ばくふ)the shogunateは風俗を乱すdisrupted
public customsと禁じforbade、次いで少年boysが女装して演じるdressed as women performed若衆歌舞伎(わかしゅ・かぶき)Wakashu Kabukiが起こったが、これも1652年(承応1年)に禁じられた。
Okuni kabuki was a type
of female kabuki mainly performed by women, but in 1629 (Kanei 6), the
shogunate forbade it because it disrupted public customs, and then changed to
wakashu kabuki, in which boys dressed as women performed. (Wakashu Kabuki) occurred,
but this was also prohibited in 1652 (Joo 1).
野郎歌舞伎(やろう・かぶき)Yarou Kabuki
その後、成年男子adult menが演じる野郎歌舞伎(やろう・かぶき)Yarou Kabukiとなり、これを契機に踊り中心の演舞the dance-based performanceから諸芸能の要素elements of various performing artsを取り入れ、筋立ても写実的となり本格的な総合演劇full-fledged comprehensive theaterへと発展した。
Later, it became known as
Yarou Kabuki, performed by adult men, and with this, elements of various performing
arts were incorporated from the dance-based performance, the plot became
realistic, and it developed into a full-fledged comprehensive theater.
坂田藤十郎(さかた・とうじゅうろう)Sakata Tōjūrō(1647~1709)
芳沢あやめ(よしざわ・あやめ)Yoshizawa
Ayame
市川団十郎(いちかわ・だんじゅうろう)Ichikawa
Danjūrō(1660~1704)
芝居小屋(しばいごや)playhouseも常設され、名優famous
actorsには、上方(かみがた)Kamigataでは和事(わごと)Wagoto(柔らかみを身上とする役どころ)を得意とした坂田藤十郎(さかた・とうじゅうろう)Sakata Tōjūrō(1647~1709)や女形(女方)(おやま)(おんながた)Onnagataの芳沢あやめ(よしざわ・あやめ)Yoshizawa Ayameがおり、江戸(えど)Edoでは初代市川団十郎(いちかわ・だんじゅうろう)Ichikawa Danjūrō(1660~1704)が荒事(あらごと)Aragoto(荒々しさを誇張して演じること)で名声を博した。
A playhouse was also
permanently set up, and famous actors include Sakata Tojuro (1647-1709), who
was good at Japanese matters in Kamigata, and Onnagata (Onnagata). There was
Ayame Yoshizawa, and in Edo, the first Ichikawa Danjuro (1660-1704) gained fame
for his aragoto.
土佐光起(とさ・みつおき)Tosa Mitsuoki(1617~1691)
土佐光起(とさ・みつおき)Tosa Mitsuoki(1617~1691)
絵画Paintings・工芸Crafts
狩野派(かのうは)the Kano schoolは衰えたが、土佐派(とさは)the Tosa schoolの土佐光起(とさ・みつおき)Tosa Mitsuoki(1617~1691)が京都画壇the Kyoto art worldを中心に活躍し、宮廷the Imperial Court絵所預(えどころ・あずかり)the head of the painting studioとなって土佐派中興の祖the restorer of the Tosa schoolと目された。
Although the Kano school
declined, Tosa Mitsuoki (1617-1691) of the Tosa school was active mainly in the
Kyoto art world, and was appointed to the Imperial Court Painting Department. ・Azukari) and was regarded as the founder of the Tosa school.
住吉如慶(すみよし・じょけい)Sumiyoshi
Jokei(1599~1670)
住吉具慶(すみよし・ぐけい)Sumiyoshi
Gukei(1631~1705)
土佐派(とさは)the Tosa schoolからでた住吉如慶(すみよし・じょけい)Sumiyoshi Jokei(1599~1670)・住吉具慶(すみよし・ぐけい)Sumiyoshi Gukei(1631~1705)の父子father and sonは住吉派(すみよしは)the Sumiyoshi schoolをおこし、狩野派(かのうは)the Kano schoolとともに幕府(ばくふ)the shogunateの御用絵師(ごよう・えし)the official painterとなった。
The father and son
Sumiyoshi Jokei and Sumiyoshi Gukei (1631-1705), who came from the Tosa school,
founded the Sumiyoshi school, and Kano. Along with Kanoha, he became the
official painter of the shogunate.
英一蝶(はなぶさ・いっちょう)Hanabusa
Itchō(1652~1724)
英一蝶(はなぶさ・いっちょう)Hanabusa
Itchō(1652~1724)
風俗画(ふうぞくが)Genre
paintingでは、英一蝶(はなぶさ・いっちょう)Hanabusa Itchō(1652~1724)が市井の風俗・行事street customs and eventsを題材に軽妙・脱俗な画風lighthearted and unconventional style of paintingを見せた。
In the field of genre
paintings, Iccho Hanabusa (1652-1724) displayed a lighthearted and
unconventional style of painting, using street customs and events as his
subjects.
『紅白梅図屏風(こうはく・ばいず・びょうぶ)Kōhakubaizu byobu』
装飾画(そうしょくが)decorative
paintingsでは、元禄期during the Genroku periodに尾形光琳(おがた・こうりん)Ogata Kōrin(1658~1716)がでて、構想の奇抜さunique concepts、大胆な意匠bold designs、美しい色彩beautiful colorsで大和絵風の装飾画decorative paintings in the Yamato-e styleを大成した。
In the field of
decorative paintings, Korin Ogata (1658-1716) appeared during the Genroku
period, and achieved great success in decorative paintings in the Yamato-e
style with his unique concepts, bold designs, and beautiful colors.
『燕子花図屏風(かきつばた・ず・びょうぶ)Kakitsubata-zu byobu』
代表作品に『紅白梅図屏風(こうはく・ばいず・びょうぶ)Kōhakubaizu byobu』・『燕子花図屏風(かきつばた・ず・びょうぶ)Kakitsubata-zu byobu』がある。
His representative works
include ``Red and White Plum Blossoms'' and ``Kakitsubata-zu byobu''.
山本素軒(やまもと・そけん)Yamamoto
Soken
本阿弥光悦(ほんあみ・こうえつ)Hon'ami
Kōetsu(1558~1637)
『風神雷神図屏風(ふうじん・らいじん・ず・びょうぶ)Fujin Raijin-zu Byobu』
俵屋宗達(たわらや・そうたつ)Tawaraya
Sōtatsu(?~1643)
絵paintingを狩野派(かのうは)the Kano schoolの宮廷画家court painter山本素軒(やまもと・そけん)Yamamoto
Sokenに学び、さらに本阿弥光悦(ほんあみ・こうえつ)Hon'ami Kōetsu(1558~1637)・俵屋宗達(たわらや・そうたつ)Tawaraya Sōtatsu(?~1643)に私淑(ししゅく)under the auspices ofして装飾画(そうしょくが)decorative paintingsを大成。
He studied painting with
Yamamoto Soken, a court painter of the Kano school, and further developed his
decorative paintings under the auspices of Hon'ami Koetsu and Tawaraya
Soutatsu.
尾形光琳(おがた・こうりん)Ogata Kōrinの流れを琳派(りんぱ)Rinpaという。
The style of Ogata Korin
is called Rinpa.
光琳模様(こうりん・もよう)the Korin
pattern
工芸家craftsmanとしても優れ、図案意匠designsに光琳模様(こうりん・もよう)the Korin patternを生み出した。
He was also an excellent
craftsman and created the Korin pattern in his designs.
光琳蒔絵(こうりん・まきえ)Korin makie
蒔絵(まきえ)Maki-eにも優れ、光琳蒔絵(こうりん・まきえ)Korin makieと呼ばれた。
He was also excellent at
makie, and was called Korin makie.
尾形乾山(おがた・けんざん)Ogata Kenzan
陶工potterの尾形乾山(おがた・けんざん)Ogata Kenzanは尾形光琳(おがた・こうりん)Ogata Kōrinの弟younger brotherである。
The potter Kenzan Ogata
is the younger brother of Korin Ogata.
菱川師宣(ひしかわ・もろのぶ)Hishikawa Moronobu(?~1694)
菱川師宣(ひしかわ・もろのぶ)Hishikawa Moronobu(?~1694)
江戸初期the early Edo
periodに庶民の生活the lives of common peopleを描いた風俗画(ふうぞくが)Genre painting=浮世絵(うきよえ)Ukiyo-eが始められ、元禄the Genroku eraの頃菱川師宣(ひしかわ・もろのぶ)Hishikawa Moronobu(?~1694)が、木版画woodblock printsを小説の挿絵illustrations for novelsという従属的位置から大判の一枚摺りの絵画large-sized, single-sheet paintingsに独立させて、浮世絵(うきよえ)Ukiyo-eを大成した。
Ukiyo-e (genre paintings
depicting the lives of common people) began in the early Edo period, and around
the Genroku era, Hishikawa Moronobu (?~1694) began to treat woodblock prints as
illustrations for novels. From then on, he branched out into large-sized,
single-sheet paintings, and achieved ukiyo-e.
『見返美人図(みかえり・びじん・ず)Mikaeri Bijin-zu』
菱川師宣(ひしかわ・もろのぶ)Hishikawa Moronobuは大和絵師Yamato-e artistとして肉筆浮世絵the hand-painted ukiyo-e『見返美人図(みかえり・びじん・ず)Mikaeri Bijin-zu』など優れた作品outstanding worksを残し、庶民の日常生活the daily lives of ordinary peopleを庶民の目と感覚をもってとらえた。
Moronobu Hishikawa was a
Yamato-e artist who left behind outstanding works such as the hand-painted
ukiyo-e ``Mikaeri Bijin-zu,'' which captured the daily lives of ordinary people
with the eyes and sensibilities of ordinary people.
鳥居清信(とりい・きよのぶ)Torii
Kiyonobu(1664?~1729?)
懐月堂安度(かいげつどう・あんど)Kaigetsudō
Ando
宮川長春(みやがわ・ちょうしゅん)Miyagawa
Chōshun
続いて鳥居清信(とりい・きよのぶ)Torii Kiyonobu(1664?~1729?)は、鳥居派(とりいは)the Torii schoolの祖the founderとして役者の舞台姿actors on stageを版画printsとし、懐月堂安度(かいげつどう・あんど)Kaigetsudō Ando・宮川長春(みやがわ・ちょうしゅん)Miyagawa Chōshunらも美人画の名手masters of painting beautiful womenとして人気を博した。
Next, Torii Kiyonobu
(1664? - 1729?), the founder of the Torii school, made prints of actors on
stage. Nagaharu Miyagawa and others also gained popularity as masters of
painting beautiful women.
京焼(きょうやき)Kyō ware
野々村仁清(ののむら・にんせい)Nonomura
Ninsei(生没年不詳)
陶芸(とうげい)Potteryでは、京都(きょうと)Kyotoの野々村仁清(ののむら・にんせい)Nonomura Ninsei(生没年不詳)が技巧精緻・優美な形exquisitely crafted and elegant shapesに、華麗gorgeousな蒔絵(まきえ)Maki-eの意匠designsを施して雅趣に富んだ作品works rich in eleganceを作り、京焼(きょうやき)Kyō wareの祖the founderと称せられた。
In the area of pottery,
Ninsei Nonomura (year of birth and death unknown) of Kyoto created works rich
in elegance by applying gorgeous makie designs to exquisitely crafted and
elegant shapes. He was called the founder of Kyoto ware.
色絵(いろえ)colored painting楽焼(らくやき)Raku ware
尾形乾山(おがた・けんざん)Ogata Kenzan
尾形光琳(おがた・こうりん)Ogata Kōrinの弟younger
brother尾形乾山(おがた・けんざん)Ogata Kenzan(1663~1743)は野々村仁清(ののむら・にんせい)Nonomura Ninsei・本阿弥光悦(ほんあみ・こうえつ)Hon'ami Kōetsuの窯技(ようぎ)the techniques at the kilnを習い、色絵(いろえ)colored painting楽焼(らくやき)Raku wareに傑作masterpiecesを残した。
Ogata Kenzan (1663-1743),
the younger brother of Ogata Korin, worked at the kiln of Nonomura Ninsei and
Honami Koetsu. He learned the techniques and left masterpieces in colored ware
Raku ware.
八橋蒔絵硯箱(やつはし・まきえ・すずりばこ)Yatsuhashi makie inkstone box
また尾形光琳(おがた・こうりん)Ogata Kōrin(1658~1716)は、装飾的画風decorative painting styleにより光琳風蒔絵(こうりんふう・まきえ)Korin-style makieを創作し、八橋蒔絵硯箱(やつはし・まきえ・すずりばこ)Yatsuhashi makie inkstone boxなどの傑作masterpiecesを残した。
Additionally, Ogata Korin (1658-1716) created Korin-style makie using a decorative painting style, leaving behind masterpieces such as the Yatsuhashi makie inkstone box.
宮崎友禅(みやざき・ゆうぜん)Miyazaki
Yūzen
友禅染(ゆうぜんぞめ)Yuzen dyeing
元禄小袖(げんろく・こそで)Genroku
kosode
染色(せんしょく)Dyeingでは、京都(きょうと)Kyotoの宮崎友禅(みやざき・ゆうぜん)Miyazaki Yūzenが精巧優美な模様elaborate and elegant patterns染の友禅染(ゆうぜん・ぞめ)Yuzen dyeingを始め、服装clothingも華やかな模様gorgeous patternsをもった元禄小袖(げんろく・こそで)Genroku kosodeなどが流行した。
In terms of dyeing,
Miyazaki Yuzen in Kyoto began using Yuzen dyeing with elaborate and elegant
patterns, and clothing such as Genroku kosode, which had gorgeous patterns,
became popular.