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1：今井政幸
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2024/04/14 (Sun) 06:10:00
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寝よ。
16 山水図 二幅
(右)「洞庭秋月(どうていしゅうげつ)」 (左)「江天暮雪(こうてんぼせつ)」
鑑貞筆
紙本墨画
(右) 46.0 x 30.1 cm
(左) 47.6 x 30.1 cm
室町時代(十六世紀)
Landscapes
By Kantei(active first half of the 16th century)
Two hanging scrolls
Ink on paper
Right scroll: 46.0 x 30.1 cm
Left scroll: 47.6 x 30.1cm
16th century, Muromachi period
http://burkecollection.org/catalogue/107-two-views-from-eight-views-of-the-xiao-and-xiang-rivers
17 葡萄図 一幅
愚庵筆
紙本墨画 64.6 x 30.9 cm
南北朝時代(十四世紀）
Cicada on a Grapevine
By Guan(active second half of the 14th century)
Hanging scroll
Ink on paper
64.6 x 30.9 cm
14th century, Nambokucho period
http://burkecollection.org/catalogue/115-cicada-on-a-grapevine
18 藻魚図 一幅
揚月(ようげつ)筆
紙本墨画 84.9 x 35.4 cm
室町時代(十五世紀)
Fish and Water Weeds
By Yogetsu(active late 15th century)
Hanging scroll
Ink on paper
84.9 x 35.4 cm
15th century, Muromachi period
https://www.metmuseum.org/art/collection/search/671055
19 白衣観音図 一幅
絹本墨画 114.3 x 52.9 cm
室町時代(十六世紀)
White-robed Kannon *
Hanging scroll
Ink on silk
114.3 x 52.9 cm
15th century, Muromachi period
http://burkecollection.org/catalogue/93-white-robed-kannon
20 山水図 一幅
牧松周省筆
紙本墨画 80.0 x 33.9 cm
室町時代(十五～十六世紀)
Landscape
By Bokushu Shusho
Hanging scroll
Ink on paper
80.0 x 33.9 cm
15th-16th century, Muromachi period
http://burkecollection.org/catalogue/111-splashed-ink-landscape
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2：今井政幸
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2024/04/14 (Sun) 16:28:07
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16 山水図 二幅
(右)「洞庭秋月(どうていしゅうげつ)」 (左)「江天暮雪(こうてんぼせつ)」
鑑貞筆
紙本墨画
(右) 46.0 x 30.1 cm
(左) 47.6 x 30.1 cm
室町時代(十六世紀)
Landscapes
By Kantei(active first half of the 16th century)
Two hanging scrolls
Ink on paper
Right scroll: 46.0 x 30.1 cm
Left scroll: 47.6 x 30.1cm
16th century, Muromachi period
These two scrolls, which were handed down in the Hachisuka family, depict scenes from the “Eight views of the Hsiao and Hsing Rivers,” The right scroll shows “Autumn Moon on Lake Tung-t'ing,” and the left, “Evening Snow over the River.” Other surviving examples from the set include “Evening Glow over a Fishing Village,” now in a private collection in the U.S.A,; “Evening Bell from a Distant Temple,” in the Tokyo National Museum; and “Returning Sails from a Distant Shore” in the collection of the Tokyo University of Arts. Each scroll bears a square intaglio seal reading “Kantei,” along with numbers in ink on the black of the paper which seem to arraged. It is probable that the paintings were originally mounted on a folding screen.
The only knouwn fact of Kantei's biography is a notation in the Edo period book Honcho Gashi(the History of Painting in Japan, by Kano Eino, completed in 1676) stating that he was a priest of the Ritsu sect living at the temple of Toshodaiji in Nara. In the same book he was also to be the same person as Bokkei, but that thory is no longer accepted. Some ten paintings by him are now known, including various genres such as landscape, figure painting, and bird-and-flower painting. To judge by their style, Kantei may have been a painter of the Soga school active during the first half of the 16th century.
http://burkecollection.org/catalogue/107-two-views-from-eight-views-of-the-xiao-and-xiang-rivers
17 葡萄図 一幅
愚庵筆
紙本墨画 64.6 x 30.9 cm
南北朝時代(十四世紀）
Cicada on a Grapevine
By Guan(active second half of the 14th century)
Hanging scroll
Ink on paper
64.6 x 30.9 cm
14th century, Nambokucho period
Grapes were one ogf the favorite subjects of ink painting and were frequently painted in China during the Yuan and Ming dynastics. In particular, Wen Jih-kuan(active late 13th century) was very famous as a painter of grapes during the late Sung and early Yuan dynastics. His paintings were known in Japn from the beginning of the 14th century, and the subject of grapes began to appear in Japanese painting during the Muromachi period.
In this painting the fronts and backs of the grape leaves are depicted with great skill in ink of varying thickness, and ink shading is used to give the fruit a roundness and solidity. The cicada clinging to the vine serve admirably to break the monotony of the subject.
Guan is thought to have been active during the latter harf of the 14th century, but nothing is knouwn of his life. The painting bears two scales: a rectangular relief seal reading “Guan” and a square relif seal reading “Bokurin Guan.”
http://burkecollection.org/catalogue/115-cicada-on-a-grapevine
18 藻魚図 一幅
揚月(ようげつ)筆
紙本墨画 84.9 x 35.4 cm
室町時代(十五世紀)
Fish and Water Weeds
By Yogetsu(active late 15th century)
Hanging scroll
Ink on paper
84.9 x 35.4 cm
15th century, Muromachi period
Yogetsu was from Satsuma province(modern Kagoshima prefecture). He lived at the temple of Kasagidera in Nara and was known as Kasagi yogetsu or wagyoku. The dates of his birth and death are not known , but the existence of a landscape by him, with a poetic colophon by Son'an Regen(1403-1488)dated Bunmei 17(1485), is recorded in Eishin Hikae-cho, as quoted in Koga Biko(Commentaries on Old paintings, by Asaoka Kotei[1800-1856]), Yogetsu seems, therfore, to have been a priest-painter of the latter half of the 15th century, active at about the same time as the great Sesshu(1420-1526). Among his surviving works figure paintings are especially numerous. The subject of fish―a large carp gliding through the water amid the swaying reeds and a second fish swimming gracefully above it―is an unusual one for Yogetsu. The artist's efforts are apparence in the motion-filed composition and the juxtaposition of different drawing styles in the two fish. In the shadow of the water reeds at the lower left is a square intaglio seal reading “Shinso Yogetsu.” The colophon at the top is signed Mokumoku Dojin.
https://www.metmuseum.org/art/collection/search/671055
19 白衣観音図 一幅
絹本墨画 114.3 x 52.9 cm
室町時代(十六世紀)
White-robed Kannon *
Hanging scroll
Ink on silk
114.3 x 52.9 cm
15th century, Muromachi period
The Bodhisattva Kannon in a white robe, at ease and leaning on the rock, is an image often depicted in Zen paintings of this period. There is a certain feeling of unnaturalness in the unbalanced relationship between lower body, which is twisted to the side; but the handling of the ink shading which enlives the halo and the white robe reverls a sound grasp of brush technique. The picture as a whole has the simple, archaic feeling common to the early period of ink paintaing, but the influence of Chinese painting of the Yuan dynasty may also be seen.
http://burkecollection.org/catalogue/93-white-robed-kannon
20 山水図 一幅
牧松周省筆
紙本墨画 80.0 x 33.9 cm
室町時代(十五～十六世紀)
Landscape
By Bokushu Shusho
Hanging scroll
Ink on paper
80.0 x 33.9 cm
15th-16th century, Muromachi period
Bokushu Shusho was a name used by the priest Isan Shusho of Muso school of the Rinzai sect of Zen. The name "Bokusho" was derived from the name of the hermitage to which he retired in his last years, the Bokushoken at Hojuji in Suo povince(modern Yamaguchi prefecture). Bokusho was anative of Suo and the son of Ouchi Norihiro(d. after 1465), a member of the local ruling family. In addition to Hojuji he spent time at Shokokuji and Nanzenji in Kyoto. Bokusho appears to have been closely(1420-1506): he inscribed a poem on a late landscape by Sesshu now in the Ohara collection; and he is thought to have been the person responsible for invitinng Sesshu to move to Suo. The exact dates of his lifetime are unknown, but he probably died at about time as Sesshu, tojudge by a second poetic inscription on the Ohara collection landscape. Written by Ryoan Keigo(1425-1514) and dated Eisho 4(1507), it includes the line: "Bokusho has left behind his poem and Sesshu has passed away.
an old man makes his way up a steep cliff toward a group of buildings beyond the trees which are the main focus of the painting. Under the cliff is a figure sranding on a bridge, and a distant mountain swathed in mist completes the picture. The work is a typical non-professional paiting by a Zen priest, but the haboku or "broken ink" technique(consisting of a sketch in light ink, with dark ink added to it while still wet to exploit the effects of running ink) clealy shows a storong influence from Sesshu.
http://burkecollection.org/catalogue/111-splashed-ink-landscape
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