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2023年12月15日金曜日

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 Bashō16441694

井原西鶴(いはら・さいかく)Ihara Saikaku16421693


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)68日には、戦艦陸奥(むつ)Battleship Mutsu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)1111日、駆逐艦島風(しまかぜ)Destroyer Shimakaze Island Wind)はオルモック湾Ormoc bay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 Saikaku16421693


8 Chapter 8

幕藩体制の展開

Development of the Shogunate system

4 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 Sōkan14651553


荒木田守武(あらきだ・もりたけ)Arakida Moritake14731549


文芸(ぶんげい)Literature

俳諧(はいかい)Haikai

室町後期the late Muromachi period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 Teitoku15711653


貞門(ていもん)Teimon

江戸初期the early Edo period京都(きょうと)Kyoto松永貞徳(まつなが・ていとく)Matsunaga Teitoku15711653)は、俗語slangを用い滑稽humorous主題themesとする貞門俳諧(ていもん・はいかい)Teimon haikai一派schoolを開き、上方(かみがた)Kamigata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 Sōin16051682


談林(だんりん)Danrin

大坂Osaka西山宗因(にしやま・そういん)Nishiyama Sōin16051682)は貞門派(ていもんは)Teimon school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 Bashō16441694


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 Bashō16441694)は談林風(だんりん・ふう)Danrin styleに飽き足らず、叙情的lyrical象徴的symbolic短詩型short poem-type庶民芸術popular artとしての俳句(はいく)Haiku完成perfectedして、蕉風(しょうふう)(正風)Shofu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 Bashō16441694


松尾芭蕉(まつお・ばしょう)Matsuo Bashō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境地realmsから、さらに一歩進めて、庶民的通俗性popular vulgarity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10the 10 outstanding disciples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 Saikaku16421693


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 Saikaku16421693)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町人merchantsを作品の主人公the protagonistsとし、遊里leisure商業commerce世界the world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新しい表現方法new expression methods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 Gidayū16511714


元禄the Genroku periodの頃、大坂Osaka竹本義太夫(たけもと・ぎだゆう)Takemoto Gidayū16511714)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 Monzaemon16531724


竹本義太夫(たけもと・ぎだゆう)Takemoto Gidayū1684年(貞享1年)、大坂Osaka道頓堀(どうとんぼり)Dōtonbori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 Monzaemon16531724)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風俗を乱すdisrupted public customs禁じforbade、次いで少年boys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 Tōjūrō16471709


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 Danjūrō16601704


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 Tōjūrō16471709)や女形(女方)(おやま)(おんながた)Onnagata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 Danjūrō16601704)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 Mitsuoki16171691


土佐光起(とさ・みつおき)Tosa Mitsuoki16171691


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土佐光起(とさ・みつおき)Tosa Mitsuoki16171691)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 Jokei15991670


住吉具慶(すみよし・ぐけい)Sumiyoshi Gukei16311705


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 Jokei15991670)・住吉具慶(すみよし・ぐけい)Sumiyoshi Gukei16311705)の父子father and son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 Itchō16521724


英一蝶(はなぶさ・いっちょう)Hanabusa Itchō16521724


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 Itchō16521724)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尾形光琳(おがた・こうりん)Ogata Kōrin16581716)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 Kōetsu15581637


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


painting狩野派(かのうは)the Kano school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 Kōetsu15581637)・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 Kōrinyounger 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 Kiyonobu1664?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 Kiyonobu1664?1729?)は、鳥居派(とりいは)the Torii schoolthe founderとして役者の舞台姿actors on stage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蒔絵(まきえ)Maki-e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 Kōrinyounger brother尾形乾山(おがた・けんざん)Ogata Kenzan16631743)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 Kōrin16581716)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宮崎友禅(みやざき・ゆうぜん)Miyazaki Yūzen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.




 


































































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