- Artist
亜欧堂田善
- Title
- 大日本金龍山之図
- Year
- 19世紀初期
- Medium
- 銅版筆彩
- Dims/Durs
- 26.0×53.4, 1面
- Collection
- 神戸市立博物館Kobe City Museum
- Notes
- 亜欧堂田善（1748〜1822）は、本名を永田善吉と称し、陸奥国岩瀬郡（今の福島県）須賀川で紺屋（もしくは商家）を営んでました。伝えるところによると、この善吉は寝食よりも絵を描くことが好きで、その才能を領主の松平定信に認められ、谷文晁の弟子として取り立てられ、「亜欧堂田善」という名前を定信から与えられたとのこと。松平定信はかねてより銅版画の国産化を願ってましたが、司馬江漢の銅版術については「細密ならず」と落胆し、かわりに田善の技量に期待し物心両面から支援したと思われます。期待に違わず田善は、世界地図や医学書で堅実な描画力を発揮する一方、風景画では従来の浮世絵や江漢の銅版画とは異なり、「画家目線」を活かした現実感あふれる作品を多数描きました。精度の高い線描集積と、幾何学的に構築された空間の中に、デフォルメの効いたユーモラスな点景人物を配するなど、律義さと機知に富んだその表現は、歌川国芳などの浮世版画や上方の銅版画にも影響を与えました。<br/><BR/>観音信仰で古くから信仰を集めていた浅草寺の伽藍主要部、左から仁王門・本堂・五重塔周辺のにぎわいを描いた本図は、江戸時代の鑑賞用銅版画として最大級の作品で、江戸風景を得意とした田善の銅版画のなかでも「特大型」に分類されるものです。的確な描線で描きこまれた密度の高い画面が構成され、遠近法や陰影表現もうまく消化されており、職人的芸術家（アルチザン）ともいわれる田善の円熟した技量をよく示しています。ここに描かれている景観は、当時の実際の浅草寺のそれとは異なる部分があります。たとえば、実際に仁王門右前方に鎮座する勢至・観音二躯の座像は、本図では一躯の如来座像に描き換えられています。また、仁王門の左右から境内は煉塀で隔てられていて、伽藍をこのように一望することは不可能でした。おそらく本図は「ゼルマにや廓中図」などと組の作品として制作されたもので、西洋の公共広場に匹敵する伽藍風景に仕立てるために、実景に改変を加えた描写をあえて行ったものと考えられます。<br/><br/>【江戸の絵画】Aoudo Tazen (1748-1822), whose real name was Nagata Zenkichi, ran a navy blue shop (or merchant house) in Sukagawa, Mutsu Province, Iwase County (present-day Fukushima Prefecture). According to the legend, Zenkichi loved painting more than eating and sleeping, and his talent was recognized by his lord Sadanobu Matsudaira, who took him on as a disciple of Buncho Tani, and gave him the name "Aoudo Tazen" from Sadanobu. Sadanobu Matsudaira had long hoped for the domestic production of copperplate engraving, but was disappointed by the "lack of fineness" of Shiba Jianghan's copperplate engraving technique, and instead expected great things from Tazen's skills and supported him both materially and spiritually. Unlike the conventional ukiyoe and Jiang Han's copperplate engravings, Denzen's landscapes were painted from the "artist's point of view," and were full of realism. <BR/><BR/>His highly disciplined and witty expression, including his highly precise accumulation of line drawings and humorous deformed dotted figures in geometrically constructed spaces, influenced ukiyoe prints by artists such as Utagawa Kuniyoshi and copperplate engravings in the Kamigata region. <BR/><BR/>This painting depicts the bustling area around the main temple complex of Senso-ji, a temple long revered for its belief in the Kannon (Goddess of Mercy), and from left, the Niomon gate, main hall, and five-storied pagoda, and is one of the largest copperplate prints of the Edo period for viewing. The work is composed of a high-density screen with precise lines, and the use of perspective and shading is well executed, demonstrating the mature skills of Denzen, who is also known as an artisan artist. The landscape depicted here differs in some respects from the actual Sensoji temple of the time. For example, the two seated statues of Seishi and Kannon that actually sit to the front right of the Niomon Gate have been replaced by a single seated statue of Nyorai in this painting. In addition, the precincts of the temple were separated from both sides of the Niomon Gate by a brick wall, making it impossible to get a panoramic view of the temple complex. This painting was probably created as a companion piece to "Zelmaniya Kouchu-zu" and other works, and it is thought that the artist dared to alter the actual scene in order to create a temple landscape comparable to a Western public square. <br/><br/>[Edo Paintings
- Data extracted from Bunka Isan Dētabēsu (Cultural Heritage Database) by Agency for Cultural Affairs (Bunkachō). Extracted January 21, 2022.
- 2024-12-10