橋本關雪《長恨歌》研究; The Study of Hashimoto Kansetsu's Ch?kanga Painting

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題名:	橋本關雪《長恨歌》研究;The Study of Hashimoto Kansetsu's Ch?kanga Painting
作者:	李思潔;Szu-chieh Lee
貢獻者:	藝術學研究所
關鍵詞:	日本官方展覽;長恨歌;橋本關雪;Hashimoto Kansetsu;Chōkanga;Japanese official fine arts exhibition;Shinō Shūmi
日期:	2010-01-17
上傳時間:	2010-06-11 15:16:18 (UTC+8)
出版者:	國立中央大學圖書館
摘要:	橋本關雪（1883-1945）為大正昭和時期的日本畫家，曾為竹內栖鳳的學生，活躍於日本官方展覽—文部省美術展覽會以及帝國美術展覽會中，作品以生涯後期的動物畫最為日本畫壇所熟悉。但是在官展中展出的三十四件作品，其中便有十六件與中國典故或是人物相關，是少數持續以中國主題創作的畫家。現今學界僅於橋本關雪生平有詳細的整理，但針對作品的研究相當少。本研究將以橋本關雪《長恨歌》一作，討論畫家筆法特色、母題運用以及畫題使用。除此之外，也將進一步討論日本近代美術上的觀念轉變如何被表現在作品中。此作為橋本關雪生涯作品中唯二的白描作品之一。在此作中，他不僅表現出了成熟的筆法，也將中國古畫的傳統母題結合於畫面中。藉由此作，得以窺見大正昭和時期的畫家可能見過那些中國作品，並將其運用於自己的作品中。白居易的長詩《長恨歌》為日本畫史中十分常見的主題。橋本關雪《長恨歌》現藏於京都市美術館，全作分為五個畫面，分別是唐玄宗與楊貴妃在七夕密誓、貴妃出浴、明皇幸蜀、玄宗回宮後思念貴妃，以及方士找到楊貴妃。江戶時代以「長恨歌」為題名的作品很多，本研究中以狩野山雪《長恨歌畫意》、大阪大谷大學藏《長恨歌》奈良繪本、京都龍谷大學《長恨歌》奈良繪本為對象，討論近代之前「長恨歌」主題作品的表現方式。這三本在風格、表現上都不相同，得以推測江戶時代有著眾多不同母本來源的《長恨歌》圖像。橋本關雪此作跳脫過去的表現方式，將此主題做了新的呈現。本作在表現上相當不同的地方有三：一是形式上的變動，將橫長的卷軸改成由五幅畫面一組的形式。二是畫法上採用了復古的白描手法，此為官展日本畫中相當少見的技法選擇。與橋本關雪中期的白描作品《木蘭詩》比較，可以看出畫家技法上的成熟運用；與吉川靈華（1875-1929）《離騷》一作中纖細穩定的線條比較，則可以看出此作中線條的書法性特質以及畫家對於自己文人身份的自覺。三是「支那趣味」（中國情趣）的呈現：橋本關雪在此作中不重飾服飾以及器物的考證，結合中國旅行經驗，表現出異國的氛圍，呈現出熟悉卻又陌生的古老中國。 As a painter, Hashimoto Kansetsu (1883-1945) who had been one of Takeuchi Seihō‟s (1864-1942) students learnt Nihonga, Japanese-style painting. He was active in Daisō-Shōwa period, and joined, both Bunten and Teiten, Japanese official fine arts exhibition, totally twinty-seven times. Among works for Bunten and Teiten, he exhibited 34 pieces of paintings. Sixteen of these paintings are Chinese theme, both stories and fingures. Today, in academic researches, Hashimoto Kansetsu„s biography has been studied in detail, but studies about his paintings, especially the works about Chinese stories and figures, are still less in number. This study would focus on the painting, Chōkanga (Song of Lasting Sorrow). Chōkanga made in 1929, the painter‟s later period, is a monochromatic painting. It's unique in all Kansetsu‟s paintings and reveals the mature strokes. I discuss the characters of his strokes, the using of Chinese traditional motifs and painting themes about the poem. And many parts of Chinese ancient paintings are recognized in this painting, showing how many Chinese ancient paintings Kansetsu had been seen. It's important to understand what Japanese painters in Daisō-Shōwa period had been seen. Moreover, I will discuss how Kansetsu presented the shift of concept of art theories in Modern Japan in his work. Bai Ju-yi‟s (772-846) poetry, Song of Lasting Sorrow is a popular theme in Japanese painting from Heian period. Kansetsu‟s work Chōkanga, is composed of five parts: the first one is about Minghuang and Guifei, the main characters in Song of Lasting Sorrow, promise each other on the Double Seventh Day; the second section catches the ending moment of Guifei’s bath. The third renders Minghuang and Guifei refuge to the west; the forth is the scene that Minghuang yearns for Guifei after her death. The last part is a Doaist asked by Minghuang finds Guifei on the ocean. There are many works named “Chōkanga” in Edo period. In this study, I use 3 works of Edo period to compare with Kansetsu‟s. They are Chōkanga Gakan painted by Kanō Sansetsu (1560-1651),Chōkanga naraehon collected by Ōsaka Ōteni University, and Chōkanga naraehon collected by Kyōto Ryūkoku University. By discussing these 3 works, we can find out how painters incorporated poetry into illustration. The styles and expressions of the 3 works are different with each other; hence we could know that there were many types of Chōkanga illustration in the Edo period. iii Kansetsu‟s interpretation of the theme is different from traditional presentation. For example, he changed the format, and used the technique of white painting which is rarely used in the Bunten and Teiten. Comparing with Kansetsu‟s another work, Mokulanshi (Ballad of Mu-lan) and Kikkawa Reika‟s (1875-1929) Risō (The Lament), Kansetsu‟s stroke became more mature. The stroke of Chōkanga is like calligraphy but the lines of Risō are even and thin. This diverseness reveals Kansetsu‟s self-identification: he is not only a painter but a literatus. This work also presents a modern consciousness —Shinō Shūmi. Kansetsu did not attach much importance to confirm whether the materials in the painting were real items or not. Besides, he added his travel experience to display a dreamlike and exotic ancient China.
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