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2023年12月17日日曜日

日本史33 Japanese history 33

化政文化(かせい・ぶんか)Kasei culture

山東京伝(さんとう・きょうでん)Santō Kyōden17611816

南総里見八犬伝(なんそう・さとみ・はっけんでん)Nansō Satomi Hakkenden


九六式艦上戦闘機(きゅうろくしき・かんじょう・せんとうき)Type 96 Carrier-based Fighter


九六式艦上戦闘機(きゅうろくしき・かんじょう・せんとうき)Type 96 Carrier-based Fighter


零式艦上戦闘機(れいしき・かんじょう・せんとうき)The Type 0 carrier-based fighter零戦(ぜろせん)Zero Fighter


九六式艦上戦闘機(きゅうろくしき・かんじょう・せんとうき)Type 96 Carrier-based Fighterは、日本海軍Imperial Japanese Navy艦上戦闘機Carrier-borne Fighterである。

The Type 96 carrier-based fighter is a carrier-based fighter of the Japanese Navy.

海軍初The Navy's first全金属All-metal単葉戦闘機Monoplane Fighter

The Navy's first all-metal monoplane fighter.

アメリカ側のコードネームCode nameは“クロードClaude”。

The American code name is "Claude".

後継機Successor零式艦上戦闘機(れいしき・かんじょう・せんとうき)The Type 0 carrier-based fighter零戦(ぜろせん)Zero Fighter)。

Its successor is the Type 0 carrier-based fighter.


九六式艦上戦闘機(きゅうろくしき・かんじょう・せんとうき)Type 96 Carrier-based Fighter


P-26ピーシューター Boeing P-26 Peashooter


カーチス・ホークIII Curtiss BF2C Goshawk


当時日中戦争Second Sino-Japanese War中であった中国Chinaに送られた機体は、空中戦Aerial warfareで当時のP-26ピーシューターBoeing P-26 Peashooterカーチス・ホークIII Curtiss BF2C Goshawkなど中国軍戦闘機Chinese military fightersを圧倒した。

The aircraft sent to China, which was engaged in the Sino-Japanese War at the time, overwhelmed Chinese military fighters such as the P-26 Peashooter and Curtiss Hawk III in dogfights.


九六式艦上戦闘機(きゅうろくしき・かんじょう・せんとうき)Type 96 Carrier-based Fighter


零式艦上戦闘機(れいしき・かんじょう・せんとうき)The Type 0 carrier-based fighter零戦(ぜろせん)Zero Fighter


空母鳳翔(ほうしょう) Aircraft carrier Hosho


空母龍驤(りゅうじょう) Aircraft carrier Ryujo


空母祥鳳(しょうほう) Aircraft carrier Shoho


空母瑞鳳(ずいほう) Aircraft carrier Zuiho


空母大鷹(たいよう) Aircraft carrier Taiyo


太平洋戦争Pacific War序盤1942年(昭和17年)までは、後継機successor aircraftである零式艦上戦闘機(れいしき・かんじょう・せんとうき)The Type 0 carrier-based fighter零戦(ぜろせん)Zero Fighter)の配備が間に合わず、鳳翔(ほうしょう)Hosho龍驤(りゅうじょう)Ryujo祥鳳(しょうほう)Shoho瑞鳳(ずいほう)Zuiho大鷹(たいよう)Taiyoの各空母Aircraft Carrier、および内南洋(うちなんよう)South Seas Mandateや後方の基地航空隊Land-based air unitに配備されていた。

Until 1942, at the beginning of the Pacific War, the successor aircraft, the Type 0 carrier-based fighter, was not deployed in time, and the Hosho, Ryujo, Shoho, and Zuiho ( It was deployed on the aircraft carriers Zuiho and Taiyo, as well as base air units in the Inner South Seas and rear bases.

1942年(昭和17年)末には概ね第一線から退き、以降は練習機training aircraftとして終戦the end of the warまで運用された。

At the end of 1942, it was largely retired from the front lines, and was used as a training aircraft until the end of the war.


市川鰕蔵(いちかわ・えびぞう)Ichikawa Ebizō

東洲斎写楽(とうしゅうさい・しゃらく)Tōshūsai Sharaku


9 Chapter 9

幕藩体制の動揺

Unrest in the Shogunate system

3 Section 3

化政文化(かせい・ぶんか)Kasei culture

文化文政文化ぶんか・ぶんせい・ぶんか)Bunka Bunsei culture1804年~1830年)


草双紙(くさ・ぞうし)Kusazōshi


小説(しょうせつ)Novel

17世紀後半頃に、児童向きの絵物語(え・ものがたり)illustrated storiesとして発生した草双紙(くさ・ぞうし)Kusazōshiは、やがて成人向きの挿絵文学(さしえ・ぶんがく)illustrated literatureとなり、内容によって表紙(ひょうし)Book coverを塗り分け、赤本(あか・ほん)red books青本(あお・ぼん)blue books黒本(くろ・ぼん)black books黄表紙(き・びょうし)yellow booksなどと言われた。

Kusazoshi, which originated as illustrated stories for children in the late 17th century, eventually became illustrated literature for adults, and the covers were colored differently depending on the content, and were divided into red books, blue books, black books, and yellow books.) etc.


黄表紙(き・びょうし)Kibyōshi


特に18世紀後半に見られる黄表紙(き・びょうし)Kibyōshiは、今までの子供向きの本から発展して成人向きの内容を持ち、当時の風俗customs政治politicsなど、江戸市中の話題current topics in Edo直ちに取り上げるfeatured current events時事性をもった小説(しょうせつ)Novelである。

In particular, the yellow-covered books that appeared in the latter half of the 18th century evolved from books aimed at children up until now to have content for adults, and featured current events such as the customs and politics of the time, as well as current topics in Edo. It is a novel with sexuality.


金々先生栄花夢(きんきん・せんせい・えいが・の・ゆめ)Kinkin Sensei Eiga no Yume』 恋川春町(こいかわ・はるまち)Koikawa Harumachi17441789) 黄表紙(き・びょうし)Kibyōshi


恋川春町(こいかわ・はるまち)Koikawa Harumachi17441789

金々先生栄花夢(きんきん・せんせい・えいが・の・ゆめ)Kinkin Sensei Eiga no Yume


金々先生栄花夢(きんきん・せんせい・えいが・の・ゆめ)Kinkin Sensei Eiga no Yume』の恋川春町(こいかわ・はるまち)Koikawa Harumachi17441789)や山東京伝(さんとう・きょうでん)Santō Kyōden17611816)らが代表的な作者representative authorであるが、寛政の改革(かんせい・の・かいかく)the Kansei reforms弾圧reformsされた。

Koikawa Harumachi (1744-1789) and Santokyoden (1761-1816) from "Kinkin Sensei Eiga no Yume" Although he is a representative author, he was suppressed during the Kansei reforms.


山東京伝(さんとう・きょうでん)Santō Kyōden17611816


洒落本(しゃれ・ぼん)Sharebonは、江戸Edo遊里(ゆうり)leisure village舞台に、日常会話everyday conversationsを主体とし、町人の遊興the townspeople's pastimes(つう)の姿a man of the worldを、滑稽・軽妙にin a humorous and lighthearted manner描いた。

Set in a leisure village in Edo, it depicts the townspeople's pastimes and street life in a humorous and lighthearted manner, with the main focus being everyday conversations.


洒落本(しゃれ・ぼん)Sharebon

通言総籬(つうげん・そうまがき)Tsugen Somagaki

山東京伝(さんとう・きょうでん)Santō Kyōden17611816


洒落本(しゃれ・ぼん)Sharebon

仕懸文庫(しかけ・ぶんこ)Shikake Bunko

山東京伝(さんとう・きょうでん)Santō Kyōden17611816


洒落本(しゃれ・ぼん)Sharebonは、田沼時代the Tanuma periodに全盛期を迎え、山東京伝(さんとう・きょうでん)Santō Kyōdenの『通言総籬(つうげん・そうまがき)Tsugen Somagaki』・仕懸文庫(しかけ・ぶんこ)Shikake Bunko』などがあるが、彼は寛政の改革(かんせい・の・かいかく)Kansei Reforms風俗を乱したdisturbing public customsかどで手鎖50日間の処罰sentenced to 50 days in hand chainsを受けた。

He reached his heyday during the Tanuma period, and his writings include Santo Kyoden's Tsugen Somagaki and Shikake Bunko. He was sentenced to 50 days in hand chains for disturbing public customs during reforms.

それ以来、洒落本(しゃれ・ぼん)Sharebonは衰退し、このなかから滑稽本(こっけい・ぼん)Kokkeibon人情本(にんじょう・ぼん)Ninjōbon分かれた。

Since then, pun books have declined, and these books have been divided into comic books and ninjobon books.

滑稽本(こっけい・ぼん)Kokkeibonは、洒落本(しゃれ・ぼん)Sharebon衰退したあと、その滑稽味humorous tasteを受け継いで、庶民の生活the lives of common people写実的に描写realistically portrayedした。

After the decline of pun books, they inherited their humorous taste and realistically portrayed the lives of common people.


十返舎一九(じっぺんしゃ・いっく)Jippensha Ikku17651831


滑稽本(こっけい・ぼん)Kokkeibon

東海道中膝栗毛(とうかい・どうちゅう・ひざくりげ)Tōkaidōchū Hizakurige

十返舎一九(じっぺんしゃ・いっく)Jippensha Ikku17651831


式亭三馬(しきてい・さんば)Shikitei Sanba17761822


代表作に十返舎一九(じっぺんしゃ・いっく)Jippensha Ikku17651831)の『東海道中膝栗毛(とうかい・どうちゅう・ひざくりげ)Tōkaidōchū Hizakurige』、式亭三馬(しきてい・さんば)Shikitei Sanba17761822)の『浮世風呂(うきよ・ぶろ)Ukiyoburo』・『浮世床(うきよ・どこ)Ukiyodoko』がある。

Representative works include Ichiku Jippensha's (1765-1831) Tokai Dochu Hizakurige and Shikitei Sanba (1776-1822). There are ``Ukiyoburo'' and ``Ukiyodoko''.


滑稽本(こっけい・ぼん)Kokkeibon 浮世風呂(うきよ・ぶろ)Ukiyoburo

江戸Edo湯屋bathhouse朝湯morning bath女湯women's bath男湯men's bathに立ち代りは入って来るcustomers様子appearance会話conversations写実的に描写realistically depictsした。

Tachishiro realistically depicts the appearance and conversations of customers entering the morning bath, women's bath, and men's bath of an Edo bathhouse.


滑稽本(こっけい・ぼん)Kokkeibon 浮世床(うきよ・どこ)Ukiyodoko


滑稽本(こっけい・ぼん)Kokkeibon 浮世床(うきよ・どこ)Ukiyodoko


床屋理髪屋barber shopに集まる隠居retirees儒者Confucians商人merchants芸者geishasなど多種の人a variety of peopleとりとめないrambling、しかし洗練されたsophisticated会話conversations写実的に描いたrealistically depicts

It realistically depicts the rambling but sophisticated conversations of a variety of people, including retirees, Confucians, merchants, and geishas, who gather at a barber shop.


為永春水(ためなが・しゅんすい)Tamenaga Shunsui17901843


人情本(にんじょう・ぼん)Ninjōbonは、洒落本(しゃれ・ぼん)Sharebonから滑稽味を取り去ったものwith its humor removedで、江戸市民Edo citizens退廃的な恋愛・好色the decadent love and amorous natureを中心とした人情the human emotionsを主題としている。

It is a pun-style book with its humor removed, and its theme is the human emotions centered on the decadent love and amorous nature of Edo citizens.


春色梅児誉美(しゅんしょく・うめごよみ)Shunshoku Umegoyomi

人情本(にんじょう・ぼん)Ninjōbon

為永春水(ためなが・しゅんすい)Tamenaga Shunsui17901843


代表作representative work為永春水(ためなが・しゅんすい)Tamenaga Shunsui17901843)の『春色梅児誉美(しゅんしょく・うめごよみ)Shunshoku Umegoyomi』があるが、彼は天保の改革(てんぽう・の・かいかく)Tenpō Reforms風俗粛清the purge of customsにふれて処罰punishedされた。

His representative work is ``Shunshoku Umegoyomi'' by Shunsui Tamenaga (1790-1843), who was punished for touching upon the purge of customs during the Tenpo Reforms.


上田秋成(うえだ・あきなり)Ueda Akinari17341809


雨月物語(うげつ・ものがたり)Ugetsu Monogatari

上田秋成(うえだ・あきなり)Ueda Akinari17341809


春雨物語(はるさめ・ものがたり)Harusame Monogatari

上田秋成(うえだ・あきなり)Ueda Akinari17341809


読本(よみほん)Yomihonは、勧善懲悪主義(かんぜん・ちょうあく・しゅぎ)the principle of promoting good and punishing evilを主軸にした通俗文学a type of popular literatureで、歴史上の人物や事件historical figures and incidents、さらには中国文学Chinese literatureからの翻案をもとに、説話や筋the stories and plotsに趣向をこらしている。

Yomihon (read books) is a type of popular literature that focuses on the principle of promoting good and punishing evil, and it is based on historical figures and incidents, as well as adaptations from Chinese literature, and adds flavor to the stories and plots.

雄大な構想の反面、儒教・仏教思想Confucian and Buddhist thoughtに基づく教訓lessonsを伴っている。

While it is a grand concept, it also contains lessons based on Confucian and Buddhist thought.

寛政以後、人情本(にんじょう・ぼん)Ninjōbonなどに対する取り締まりcrackdownsが強化されて衰退すると、代わって読本(よみほん)Yomihonの全盛期が到来した。

After the Kansei period, crackdowns on books on humanity (Ninjobon) were strengthened and the book declined, and in its place the heyday of Yomihon (Yomihon) arrived.


曲亭馬琴(きょくてい・ばきん)Kyokutei Bakin滝沢馬琴(たきざわ・ばきん)Takizawa Bakin)(17671848


南総里見八犬伝(なんそう・さとみ・はっけんでん)Nansō Satomi Hakkenden』 曲亭馬琴(きょくてい・ばきん)Kyokutei Bakin滝沢馬琴(たきざわ・ばきん)Takizawa Bakin)(17671848


椿説弓張月(ちんせつ・ゆみはりづき)Chinsetsu yumiharitzuki

曲亭馬琴(きょくてい・ばきん)Kyokutei Bakin滝沢馬琴(たきざわ・ばきん)Takizawa Bakin)(17671848


すでに大坂Osaka国学者a Japanese scholar上田秋成(うえだ・あきなり)Ueda Akinari17341809は、『雨月物語(うげつ・ものがたり)Ugetsu Monogatari』・『春雨物語(はるさめ・ものがたり)Harusame Monogatari』を著し、神秘幽玄の趣を示す怪異小説の地位the status of mysterious novelsを確立していたが、化政期に入って、山東京伝(さんとう・きょうでん)Santō Kyōden師事studiedした江戸Edo曲亭馬琴(きょくてい・ばきん)Kyokutei Bakin滝沢馬琴(たきざわ・ばきん)Takizawa Bakin)(17671848)が、南総里見八犬伝(なんそう・さとみ・はっけんでん)Nansō Satomi Hakkenden』・『椿説弓張月(ちんせつ・ゆみはりづき)Chinsetsu yumiharitzuki』など、300編をこえる作品を著し、読本(よみほん)Yomihonを大成した。

Akinari Ueda (1734-1809), a Japanese scholar from Osaka, has already written ``Ugetsu Monogatari'' and ``Harusame Monogatari,'' which have the status of mysterious novels with a mysterious and profound flavor. However, during the Kasei period, Kyokutei Bakin (Takizawa Bakin) (1767-1848) of Edo, who studied under Santo Kyoden, established Nansō. He wrote over 300 works, including ``Satomi Hakkenden'' and ``Chinsetsu Yumi Harizuki,'' and became a great reader.

その作品はいずれも構想雄大で、複雑な事件を整然と脚色し、人々に愛好されたが、勧善懲悪(かんぜん・ちょうあく)promoting good and punishing evil形式主義formalismに偏り、文学としての清新さに欠けた。

All of his works were grand in concept, dramatized complex incidents in an orderly manner, and were loved by people, but they lacked novelty as literature as they were biased toward formalism of promoting good and punishing evil.


柳亭種彦(りゅうてい・たねひこ)Ryūtei Tanehiko17831842


読本(よみほん)Yomihonなどの流行に伴って、19世紀初めから黄表紙(き・びょうし)Kibyōshi長編化became longer in lengthが進められ、数冊の黄表紙(き・びょうし)Kibyōshi綴じ合わせて合巻(ごうかん)Gōkan呼ばれた。

With the popularity of reading books (yomihon), yellow-covered books became longer in length from the beginning of the 19th century, and several yellow-covered books were bound together to form a combined volume. I was called.


偐紫田舎源氏(にせ・むらさき・いなか・げんじ)Nise Murasaki Inaka Genji

柳亭種彦(りゅうてい・たねひこ)Ryūtei Tanehiko17831842


柳亭種彦(りゅうてい・たねひこ)Ryūtei Tanehiko17831842)の『偐紫田舎源氏(にせ・むらさき・いなか・げんじ)Nise Murasaki Inaka Genji』は好評を博したが、天保期に江戸城大奥the Ooku of Edo Castle風刺satirizedしたかどで、版木没収the print was confiscated追放の処罰Punished by expulsionを受けた。

Nehiko Ryutei (1783-1842)'s ``Nise Murasaki Inaka Genji'' was well received, but the print was confiscated during the Tenpo period because it satirized the Ooku of Edo Castle. -Punished by expulsion.


賀茂真淵(かもの・まぶち)Kamo no Mabuchi16971769


田安宗武(たやす・むねたけ)Tayasu Munetake


加藤千蔭(かとう・ちかげ)Katō Chikage


村田春海(むらた・はるみ)Murata Harumi


文芸(ぶんげい)Literature

和歌(わか)WakaJapanese poem

和歌(わか)WakaJapanese poem)は沈滞を続けたが、わずかに国学者Japanese scholarsから歌人poetsが現れた。

Waka poetry continued to decline, but a few poets emerged from Japanese scholars.

万葉集(まんようしゅう)Man'yōshū』を愛好した賀茂真淵(かもの・まぶち)Kamo no Mabuchi16971769)は、万葉調Man'yōshū styleを提唱し、その門人his students田安宗武(たやす・むねたけ)Tayasu Munetake加藤千蔭(かとう・ちかげ)Katō Chikage歌集collection of poemsうけらが花Ukeraga Hana』)・村田春海(むらた・はるみ)Murata Harumiらがいた。

Kamo Mabuchi (1697-1769), who loved the Manyoshu, advocated the Manyoshu style, and his students included Tayasu Munetake and Kato Chikage. (Ukeraga Hana, a collection of poems) and Harumi Murata.


小沢蘆庵(おざわ・ろあん)Ozawa Roan


香川景樹(かがわ・かげき)Kagawa Kageki17681843


また京都(きょうと)Kyoto小沢蘆庵(おざわ・ろあん)Ozawa Roanは、自然なままの感情を平淡な言葉で表現することを主唱し、その門人his student香川景樹(かがわ・かげき)Kagawa Kageki17681843)も『古今集(こきんしゅう)Kokinshū』に範を求めて、家集the family collection桂園一枝(けいえん・いっし)Keien Isshi』をあみ、桂園派(けいえんは)the Keien schoolと呼ばれた。

Roan Ozawa of Kyoto advocated expressing natural emotions in plain words, and his student Kagawa Kageki (1768-1843) also wrote ``Kokin no Kokin.'' Searching for a model in the ``Keien-ha'' collection, they followed the family collection ``Keien Isshi'' and became known as the Keien-ha school.


良寛(りょうかん)Ryōkan17581831


そのほか、越後(えちご)Echigo Province新潟県(にいがたけん)Niigata Prefecturemonk良寛(りょうかん)Ryōkan17581831)は、その生活感情the emotions of lifeを平明な調べで歌った。

In addition, the Echigo monk Ryokan (1758-1831) sang about the emotions of life in a plain melody.


橘曙覧(たちばなの・あけみ)Tachibana no Akemi


平賀元義(ひらが・もとよし)Hiraga Motoyoshi


大隈言通(おおくま・ことみち)Ōkuma Kotomichi


幕末the end of the Edo periodには、越前(えちぜん)Echizen Province福井県(ふくいけん)Fukui Prefecture国学者scholars of Japanese studies橘曙覧(たちばなの・あけみ)Tachibana no Akemi平賀元義(ひらが・もとよし)Hiraga Motoyoshi大隈言通(おおくま・ことみち)Ōkuma Kotomichiらが万葉調の歌poems in the Manyo styleを詠んだ。

At the end of the Edo period, Echizen scholars of Japanese studies such as Akemi Tachibana, Motoyoshi Hiraga, and Kotomichi Okuma wrote poems in the Manyo style.


松尾芭蕉(まつお・ばしょう)Matsuo Bashō16441694


俳諧(はいかい)Haikai

松尾芭蕉(まつお・ばしょう)Matsuo Bashō以後蕉門(しょうもん)Shomonは分散し、蕉風(しょうふう)(正風)Shofuの形式化・俗化が進み、次第に当初の高い精神を失って衰退した。

After Basho, Shomon was dispersed, the Sho style became more formalized and vulgarized, and it gradually lost its original high spirit and declined.


横井也有(よこい・やゆう)Yokoi Yayū17021783


与謝蕪村(よさ・ぶそん)Yosa Buson17161783


しかし、宝暦期に、横井也有(よこい・やゆう)Yokoi Yayū17021783)は『鶉衣(うずら・ごろも)Uzuragoromo』を著して俳文に新分野を開き、天明期には、摂津の与謝蕪村(よさ・ぶそん)Yosa Buson17161783)が松尾芭蕉(まつお・ばしょう)Matsuo Bashōへの復帰を唱えて俳諧を中興revitalized haikaiした。

However, during the Horeki period, Yayu Yokoi (1702-1783) opened a new field of haiku by writing Uzuragoromo, and during the Tenmei period, Yosama of Settsu. Yosa Buson (1716-1783) advocated a return to Basho and revitalized haikai.


与謝蕪村(よさ・ぶそん)Yosa Buson17161783


与謝蕪村(よさ・ぶそん)Yosa Busonは、華麗描写に富む絵画的な句を詠んで天明調Tenmei-style poemsと称され、『蕪村七部集(ぶそん・しちぶ・しゅう)Buson Seven Parts Collection』を残した。

Buson was known for his Tenmei-style poems, which were rich in gorgeous depictions, and left behind the ``Buson Seven Parts Collection.''


小林一茶(こばやし・いっさ)Kobayashi Issa17631827


化政期には信濃(しなの)Shinano Province長野県(ながのけん)Nagano Prefecture小林一茶(こばやし・いっさ)Kobayashi Issa17631827)が、俗語・方言を自由に用い、弱者への温かい同情心を示す人間味豊かな句を残して異彩を放った。

During the Kasei period, Issa Kobayashi (1763-1827) of Shinano distinguished himself by freely using slang and dialect and leaving behind humane poems that expressed warm sympathy for the weak. .

句集haiku collectionに『おらが春Oragaharu』がある。

His haiku collection includes ``Oragaharu.''


大田南畝(おおた・なんぽ)Ōta Nanpo蜀山人(しょくさんじん)Shokusanjin)(17491823


狂歌(きょうか)Kyōka

和歌(わか)WakaJapanese poem)の形式をかり、口語を用い、洒落・滑稽と即興を生命とし、当時の政治・世相・風俗を巧みにうがち、町人に喜ばれた。

Using the form of waka poetry, using colloquial language, and relying on humor, humor, and improvisation, his works skillfully conveyed the politics, social conditions, and customs of the time, and were well received by the townspeople.


石川雅望(いしかわ・まさもち)Ishikawa Masamochi宿屋飯盛(やどやの・めしもり)Yadoya no Meshimori)(17531830


朱楽管江(あけら・かんこう)Akera Kankō


狂歌師(きょうかし)Kyōka poetsに、もと旗本(はたもと)Hatamoto大田南畝(おおた・なんぽ)Ōta Nanpo蜀山人(しょくさんじん)Shokusanjin)(17491823)・国学者Japanese scholar石川雅望(いしかわ・まさもち)Ishikawa Masamochi宿屋飯盛(やどやの・めしもり)Yadoya no Meshimori)(17531830)・朱楽管江(あけら・かんこう)Akera Kankōが知られた。

Kyoka poets include former hatamoto Ota Nanpo (Shokusanjin) (1749-1823), Japanese scholar Masamochi Ishikawa (Yadoyano Meshi) Mori)) (1753-1830) and Akera Kanko became known.

狂歌集(きょうかしゅう)Kyōka collectionsに『万載狂歌集(まんざい・きょうかしゅう)Manzai Kyokashu』・『故混馬鹿集(ここん・ばかしゅう)Kokon Bakashyu』などがある。

Kyoka collections include ``Manzai Kyokashu'' and ``Kokon Bakashyu''.


柄井川柳(からい・せんりゅう)Karai Senryū17181790


黒船来航(くろふね・らいこう)Kurofune raikōArrival of the Black Ships

蒸気船上喜撰(じょうきせん))、たった四杯で夜も眠れず Steamboat (Jokisen), I couldn't sleep at night after just four drinks.


川柳(せんりゅう)Senryū

川柳(せんりゅう)Senryūは、俳句(はいく)haikuの形をとって政治や世相などを皮肉な眼でとらえ、滑稽・風刺と即興をもって表現するもので、江戸町人Edo townspeopleに歓迎された。

Senryu (senryu) takes the form of haiku and takes an ironic view of politics and social conditions, expressing them through humor, satire, and improvisation, and was welcomed by Edo townspeople.

前句付(まえくづけ)Maekuzuke点者(てんじゃ)Tenjaをしていた江戸Edo浅草Asakusa町名主the town head柄井川柳(からい・せんりゅう)Karai Senryū17181790)から川柳(せんりゅう)Senryūの呼称がおこり、彼を中心に『俳風柳多留(はいふう・やなぎ・だる)Haifu Yanagi Daru』がつくられた。

The name Senryu (Senryu) came from Karai Senryu (1718-1790), the town head of Asakusa, Edo, who was the Tenja (Maekuzuke), and the name Senryu (Senryu) originated from him. ``Haifu Yanagi Daru'' was created.


竹田出雲(たけだ・いずも)Takeda Izumo


菅原伝授手習鑑(すがわら・でんじゅ・てならい・かがみ)Sugawara Denju Tenarai Kagami


義経千本桜(よしつね・せんぼん・ざくら)Yoshitsune Senbon Zakura


仮名手本忠臣蔵(かなでほん・ちゅうしんぐら)Kanadehon Chūshingura


演劇(えんげき)Theatre

浄瑠璃(じょうるり)Jōruri

近松門左衛門(ちかまつ・もんざえもん)Chikamatsu Monzaemon16531724)の指導を受けた大坂Osaka竹本座(たけもとざ)Takemoto-za二世the second generation竹田出雲(たけだ・いずも)Takeda Izumo浄瑠璃原作者the original author of joruriとしても活躍し、『菅原伝授手習鑑(すがわら・でんじゅ・てならい・かがみ)Sugawara Denju Tenarai Kagami』・『義経千本桜(よしつね・せんぼん・ざくら)Yoshitsune Senbon Zakura』・『仮名手本忠臣蔵(かなでほん・ちゅうしんぐら)Kanadehon Chūshingura』などの名作を残した。

Takeda Izumo, the second generation of Osaka's Takemoto-za, who was trained by Chikamatsu Monzaemon (1653-1724), was also active as the original author of joruri, and wrote the book ``Sugawara Denju Handbook''. He left behind masterpieces such as ``Yoshitsune, Senbon, and Sakura'', ``Kanadehon Chushingura'', and ``Kanadehon Chushingura''.


近松半二(ちかまつ・はんじ)Chikamatsu Hanji17251783


本朝廿四孝(ほんちょう・にじゅうしこう)Honcho Nijushiko


傾城阿波の鳴門(けいせい・あわの・なると)Keisei Awa no Naruto


妹背山婦女庭訓(いもせやま・おんな・ていきん)Imoseyama Onna Teikin


その門人disciple近松半二(ちかまつ・はんじ)Chikamatsu Hanji17251783)も、『本朝廿四孝(ほんちょう・にじゅうしこう)Honcho Nijushiko』・『傾城阿波の鳴門(けいせい・あわの・なると)Keisei Awa no Naruto』・『妹背山婦女庭訓(いもせやま・おんな・ていきん)Imoseyama Onna Teikin』など優れた作品を著したが、浄瑠璃(じょうるり)Jōruriは、18世紀中頃の宝暦期を境に衰退に向かい、台本として見るべきものは少なくなった。

His disciple Chikamatsu Hanji (1725-1783) also wrote ``Honcho Nijushiko'' and ``Keisei Awano Naruto''. Although he wrote excellent works such as ``Imoseyama Onna Teikin'', Joruri began to decline after the Horeki period in the mid-18th century, and it was no longer seen as a script. There are fewer things to do.


中村歌右衛門(なかむら・うたえもん)Nakamura Utaemon


市川団十郎(いちかわ・だんじゅうろう)Ichikawa Danjūrō


歌舞伎(かぶき)Kabuki

浄瑠璃(じょうるり)Jōruriの衰退に代わって、江戸を中心に歌舞伎(かぶき)Kabukiが著しい発展を示し、花道・回り舞台・せり上げなど、演劇効果を高める装置が完成した。

In place of the decline of Joruri, Kabuki (Kabuki) showed remarkable development mainly in the Edo period, and devices such as hanamichi, revolving stages, and elevated theaters were perfected to enhance theatrical effects.

19世紀前半が歌舞伎(かぶき)Kabukiの全盛期で、江戸には中村座・市村座などの芝居小屋playhousesが盛況を呈し、中村歌右衛門(なかむら・うたえもん)Nakamura Utaemon市川団十郎(いちかわ・だんじゅうろう)Ichikawa Danjūrōなどの名優Famous actorsが活躍した。

The first half of the 19th century was the heyday of Kabuki, and playhouses such as Nakamura-za and Ichimura-za flourished in Edo, and theaters such as Nakamura Utaemon and Ichikawa Danjuro flourished in Edo. Famous actors such as (Ro) played an active role.


並木正三(なみき・しょうぞう)Namiki Shozo


並木五瓶(なみき・ごへい)Namiki Gohei


鶴屋南北(つるや・なんぼく)Tsuruya Namboku17551829


脚本作家Script writersとして並木正三(なみき・しょうぞう)Namiki Shozo並木五瓶(なみき・ごへい)Namiki Gohei鶴屋南北(つるや・なんぼく)Tsuruya Namboku17551829)らが現れた。

Script writers such as Shozo Namiki, Gohei Namiki, and Nanboku Tsuruya (1755-1829) appeared.


東海道四谷怪談(とうかいどう・よつや・かいだん)Ghost Story of Yotsuya in Tokaido


特に化政期の鶴屋南北(つるや・なんぼく)Tsuruya Nambokuは、退廃した世相を怪奇・残酷趣味を交えて描いた『東海道四谷怪談(とうかいどう・よつや・かいだん)Ghost Story of Yotsuya in Tokaido』をはじめ、その作品は百数十本の多きに及んでいる。

In particular, during the Kasei period, Tsuruya Nanboku produced over 100 works, including ``Tokaido Yotsuya Kaidan'', which depicts the decadent social conditions with a sense of horror and cruelty. There are over a dozen books.


河竹黙阿弥(かわたけ・もくあみ)Kawatake Mokuami18161893


三人吉三廓初買(さんにん・きちさ・くるわ・の・はつがい)Sannin Kichisa Kuruwa no Hatsugai


その門人disciple河竹黙阿弥(かわたけ・もくあみ)Kawatake Mokuami18161893)は、白浪物(しらなみ・もの)Shiranamimono(盗賊を主人公にした話)・世話物(せわ・もの)Sewamonoなど多方面に手腕をふるい、代表作に『三人吉三廓初買(さんにん・きちさ・くるわ・の・はつがい)Sannin Kichisa Kuruwa no Hatsugai』がある。

His disciple, Kawatake Mokuami (1816-1893), was skilled in many fields, including Shiranamimono (stories with thieves as the main characters) and Sewamono, and his representative works include `` Sannin, Kissa, Kuruwano, and Hatugai.''


伊孚九(い・ふきゅう)Yi Fujiu


絵画(かいが)Painting

黄檗宗(おうばくしゅう)Ōbaku-shūmonksや、享保頃にたびたび渡来した中国人画家Chinese painter伊孚九(い・ふきゅう)Yi Fujiuらによって南画(なんが)Nanga南宗画(なんしゅうが)Nanshūga)が伝えられ、日本Japanでも学者scholars文人literary figuresの間に流行spreadするようになり、文人画(ぶんじんが)Bunjingaと言われた。

Nanga (nanshuga) was introduced by monks of the Obaku sect and the Chinese painter Ifukyu, who often came to Japan around the Kyoho period, and it continued to spread in Japan as well. It became popular among scholars and literary figures, and was called Bunjinga (literati painting).


池大雅(いけの・たいが)Ike no Taiga17231776


池大雅(いけの・たいが)Ike no Taiga17231776


十便十宜図(じゅうべん・じゅうぎ・ず)Juben Jugi zu


天明期に入って、池大雅(いけの・たいが)Ike no Taiga17231776)と与謝蕪村(よさ・ぶそん)Yosa Buson17161783)によって日本文人画Japanese literati paintingsが大成され、池大雅(いけの・たいが)Ike no Taiga与謝蕪村(よさ・ぶそん)Yosa Busonの合作『十便十宜図(じゅうべん・じゅうぎ・ず)Juben Jugi zu』などを残した。

In the Tenmei period, Japanese literati paintings were perfected by Ike no Taiga (1723-1776) and Yosa Buson (1716-1783). He left behind works such as ``Jubenjugizu.''


浦上玉堂(うらがみ・ぎょくどう)Uragami Gyokudō17451820


田能村竹田(たのむら・ちくでん)Tanomura Chikuden17771835


谷文晁(たに・ぶんちょう)Tani Bunchō17631840


谷文晁(たに・ぶんちょう)Tani Bunchō17631840


渡辺崋山(わたなべ・かざん)Watanabe Kazan17931841


鷹見泉石像(たかみ・せんせき・ぞう)Takami Senseki zo


そのほか浦上玉堂(うらがみ・ぎょくどう)Uragami Gyokudō17451820)・田能村竹田(たのむら・ちくでん)Tanomura Chikuden17771835)らや、ひろく諸派various schools摂取adoptedした谷文晁(たに・ぶんちょう)Tani Bunchō17631840)、その弟子discipleで『鷹見泉石像(たかみ・せんせき・ぞう)Takami Senseki zo』を残した渡辺崋山(わたなべ・かざん)Watanabe Kazan17931841)などが有名である。

Others include Uragami Gyokudo (1745-1820), Tanomura Chikuden (1777-1835) Raya, and Tani Buncho (Tani Buncho) who adopted various Hiroku schools. His disciple Watanabe Kazan (1793-1841), who left behind the ``Takami Izumi Stone Statue,'' are famous.


沈南蘋(ちん・なんぴん)Shen Quan


円山応挙(まるやま・おうきょ)Maruyama Ōkyo17331795


雪松図屏風(ゆきまつ・ず・びょうぶ)Yukimatsu zu byobu


実証を尊重する時代風潮を反映して、写実的な写生画(しゃせいが)realistic sketch paintingsが発展した。

Reflecting the trend of the times that valued demonstration, realistic sketch paintings developed.

京都(きょうと)Kyoto円山応挙(まるやま・おうきょ)Maruyama Ōkyo17331795)は、(しん)の画家the Qing Dynasty painter沈南蘋(ちん・なんぴん)Shen Quanが伝えた写実法the realismと、西洋の透視的な写実主義Western perspective realism影響influencedを受け、これに日本画Japanese painting装飾的表現法the decorative expression methods融合fusingさせて写生画(しゃせいが)realistic sketch paintingsを大成し、円山派(まるやまは)the Maruyama schoolと呼ばれ、『雪松図屏風(ゆきまつ・ず・びょうぶ)Yukimatsu zu byobu』などを残した。

Maruyama Okyo (1733-1795) of Kyoto was influenced by the realism introduced by the Qing Dynasty painter Shen Nanpin and Western perspective realism. He achieved sketch painting by fusing the decorative expression methods of Japanese painting, and was known as the Maruyama school, leaving behind works such as ``Yukimatsuzu''.


松村呉春(まつむら・ごしゅん)Matsumura Goshun月渓(げっけい)Gekkei)(17521811


与謝蕪村(よさ・ぶそん)Yosa Buson円山応挙(まるやま・おうきょ)Maruyama Ōkyoに学んだ円山派(まるやまは)the Maruyama school松村呉春(まつむら・ごしゅん)Matsumura Goshun月渓(げっけい)Gekkei)(17521811)は、文人画(ぶんじんが)Bunjinga円山派(まるやまは)the Maruyama school写生画(しゃせいが)realistic sketch paintingsを融合して四条派(しじょうは)the Shijō schoolを開いた。

Matsumura Goshun (Gekkei) (1752-1811), a member of the Maruyama school who studied under Yosa Buson and Maruyama Okyo, was a literati painter. (Bunjinga) and the Maruyama School's sketch paintings to form the Shijo School.


酒井抱一(さかい・ほういつ)Sakai Hōitsu17611828


冷泉為恭(れいぜい・ためちか)Reizei Tamechika


そのほかに琳派(りんぱ)Rinpa系統の酒井抱一(さかい・ほういつ)Sakai Hōitsu17611828)、土佐派(とさは)the Tosa school系統の冷泉為恭(れいぜい・ためちか)Reizei Tamechikaらが有名であった。

Other well-known artists included Sakai Hoitsu (1761-1828), who belonged to the Rinpa school, and Reizei Tamechika, who belonged to the Tosa school.


平賀源内(ひらが・げんない)Hiraga Gennai17281779


司馬江漢(しば・こうかん)Shiba Kōkan17471818


西洋風俗図(せいよう・ふうぞく・ず)Western Customs


鎖国(さこく)the national isolation後一時衰退した洋画(ようが)Western paintingsも、蘭学(らんがく)Dutch studies興隆the riseとともに再び盛んとなり、西洋画(せいようが)Western paintingsの遠近法などが学ばれた。

Western paintings, which had declined for a while after the national isolation, became popular again with the rise of Dutch studies, and people learned things like perspective in Western paintings.

平賀源内(ひらが・げんない)Hiraga Gennai17281779)や司馬江漢(しば・こうかん)Shiba Kōkan17471818)が油絵画家oil paintersとして知られ、特に司馬江漢(しば・こうかん)Shiba Kōkanは、長崎Nagasaki洋画(ようが)Western paintings研究researchedして『西洋画談(せいよう・がだん)Western Paintings』を著し、1783年(天明3年)、日本最初Japan's first銅版画(どうばんが)copperplate engravingsエッチングetchings)に成功をおさめ、『西洋風俗図(せいよう・ふうぞく・ず)Western Customs』などを残した。

Hiraga Gennai (1728-1779) and Shiba Kokan (1747-1818) are known as oil painters, and Shiba Kokan in particular created Western paintings in Nagasaki. He researched and wrote ``Western Paintings'', and in 1783 (Tenmei 3), he succeeded in creating Japan's first copperplate engravings (etchings), leaving behind works such as ``Western Customs''.


亜欧堂田善(あおうどう・でんぜん)Aōdō Denzen17481822


浅間山真景図屏風(あさまやま・しんけいず・びょうぶ)Mt. Asama True Scenery Byobu

亜欧堂田善(あおうどう・でんぜん)Aōdō Denzen17481822


亜欧堂田善(あおうどう・でんぜん)Aōdō Denzen17481822)も油絵oil painting銅版画(どうばんが)copperplate engravingsエッチングetchings)を学び、洋風肉筆画Western-style hand-drawn painting浅間山真景図屏風(あさまやま・しんけいず・びょうぶ)Mt. Asama True Scenery Byobu』を残した。

Aoudo Denzen (1748-1822) also studied oil painting and copperplate engraving, and left behind a Western-style hand-drawn painting called ``Mt. Asama True Scenery Byobu.''


鈴木春信(すずき・はるのぶ)Suzuki Harunobu1725?1770


庶民the common peopleに愛好された木版画woodblock print浮世絵(うきよ・え)Ukiyo-eは、18世紀中頃から版画技術printmaking technologyに改良が加えられ、田沼時代に、多色刷multicolored錦絵(にしき・え)Nishiki-e鈴木春信(すずき・はるのぶ)Suzuki Harunobu1725?1770によって発明された。

Ukiyo-e, a woodblock print that was loved by the common people, was improved in printmaking technology from the mid-18th century, and during the Tanuma period, multicolored nishiki-e was produced by Harunobu Suzuki (1725). ?~1770).

こうして18世紀末から19世紀にかけて浮世絵(うきよ・え)Ukiyo-e黄金時代golden ageを迎えた。

Thus, from the end of the 18th century to the 19th century, ukiyo-e entered a golden age.


鳥居清長(とりい・きよなが)Torii Kiyonaga17521815


喜多川歌麿(きたがわ・うたまろ)Kitagawa Utamaro


歌川豊国(うたがわ・とよくに)Utagawa Toyokuni


東洲斎写楽(とうしゅうさい・しゃらく)Tōshūsai Sharaku


葛飾北斎(かつしか・ほくさい)Katsushika Hokusai17601849


安藤広重(あんどう・ひろしげ)Andō Hiroshige歌川広重うたがわ・ひろしげ)Utagawa Hiroshige


美人画(びじん・が)Bijin-gaでは鈴木春信(すずき・はるのぶ)Suzuki Harunobu鳥居清長(とりい・きよなが)Torii Kiyonaga17521815)・喜多川歌麿(きたがわ・うたまろ)Kitagawa Utamaro役者絵(やくしゃ・え)Yakusha-eでは歌川豊国(うたがわ・とよくに)Utagawa Toyokuni東洲斎写楽(とうしゅうさい・しゃらく)Tōshūsai Sharaku風景画(ふうけい・が)Landscape paintingでは葛飾北斎(かつしか・ほくさい)Katsushika Hokusai安藤広重(あんどう・ひろしげ)Andō Hiroshige歌川広重うたがわ・ひろしげ)Utagawa Hiroshige)などが活躍した。

For paintings of beautiful women, Suzuki Harunobu, Torii Kiyonaga (1752-1815), and Kitagawa Utamaro, and for actor paintings, Utagawa Toyokuni. Toshusai Sharaku, and landscape painters such as Katsushika Hokusai and Ando Hiroshige (Utagawa Hiroshige) were active.


婦女人相十品(ふじょ・にんそう・じゅっぴん)Fujo, Ninsou, and Juppin

喜多川歌麿(きたがわ・うたまろ)Kitagawa Utamaro


高名美人六歌撰(こうめい・びじん・ろっかせん)

喜多川歌麿(きたがわ・うたまろ)Kitagawa Utamaro


喜多川歌麿(きたがわ・うたまろ)Kitagawa Utamaro1753?1806)は鳥居清長(とりい・きよなが)Torii Kiyonaga影響を受け、女性の感情や姿体美を婉麗にして情味豊かな画趣で表現し、『婦女人相十品(ふじょ・にんそう・じゅっぴん)Fujo, Ninsou, and Juppin』・『高名美人六歌撰(こうめい・びじん・ろっかせん)』などを残し、美人画(びじん・が)Bijin-gaに縦横の才をふるった。

Kitagawa Utamaro (1753?-1806) was influenced by Torii Kiyonaga, and expressed the emotions and physical beauty of women in a graceful and sensitive style. , ``Fujo, Ninsou, and Juppin'' and ``Six Poems of Famous Beauties'', and displayed a wide range of talent in painting beautiful women.


市川鰕蔵(いちかわ・えびぞう)Ichikawa Ebizō

東洲斎写楽(とうしゅうさい・しゃらく)Tōshūsai Sharaku


東洲斎写楽(とうしゅうさい・しゃらく)(生没年不詳)は役者の舞台姿the stage appearances of actorsを見事にとらえ、『市川鰕蔵(いちかわ・えびぞう)Ichikawa Ebizō』などを残し、大首絵(おおくび・え)Ōkubi-eと言われる独特な表情をもつ独自の境地を開いた。

Toshusai Sharaku (date of birth and death unknown) was a master at capturing the stage appearances of actors, leaving works such as ``Ichikawa Ebizo'', and his unique facial expressions known as Ōkubie. He has opened up a unique field of development.


葛飾北斎(かつしか・ほくさい)Katsushika Hokusai17601849


葛飾北斎(かつしか・ほくさい)Katsushika Hokusai17601849)は、和漢洋諸派Japanese, Chinese, and Western schoolsの長所を摂取して、主観的な大胆な構図his bold, subjective compositions剛健な筆致robust brushwork風景画(ふうけい・が)Landscape paintingにおいて異彩を放った。

Katsushika Hokusai (1760-1849) drew on the strengths of Japanese, Chinese, and Western schools and distinguished himself in his landscape paintings with his bold, subjective compositions and robust brushwork.


富嶽三十六景(ふがく・さんじゅうろっけい)Thirty-six Views of Mount Fuji

葛飾北斎(かつしか・ほくさい)Katsushika Hokusai17601849


ヨーロッパ印象派the European Impressionistsに影響を与えた『富嶽三十六景(ふがく・さんじゅうろっけい)Thirty-six Views of Mount Fuji』は代表作である。

His representative work is ``Thirty-six Views of Mt. Fuji,'' which influenced the European Impressionists.


東海道五十三次(とうかいどう・ごじゅうさんつぎ)The 53 Stations of the Tōkaidō

安藤広重(あんどう・ひろしげ)Andō Hiroshige歌川広重うたがわ・ひろしげ)Utagawa Hiroshige


名所江戸百景(めいしょ・えど・ひゃっけい)One Hundred Famous Views of Edo

安藤広重(あんどう・ひろしげ)Andō Hiroshige歌川広重うたがわ・ひろしげ)Utagawa Hiroshige


安藤広重(あんどう・ひろしげ)Andō Hiroshige歌川広重うたがわ・ひろしげ)Utagawa Hiroshige)(17971858)は、感情豊かな叙情性に富む作風a richly emotional and lyrical styleをもち、『東海道五十三次(とうかいどう・ごじゅうさんつぎ)The 53 Stations of the Tōkaidō』・『名所江戸百景(めいしょ・えど・ひゃっけい)One Hundred Famous Views of Edo』などがある。

Hiroshige Ando (Hiroshige Utagawa) (1797-1858) had a richly emotional and lyrical style, and his works include ``53 Stations of the Tokaido'' and ``One Hundred Famous Views of Edo.''


















































































 


































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