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三代目歌川豊国は役者絵の黄金期を築きあげ、質・量ともにその最頂点に位置したと評価されている画師である。しかし、飯島虚心をはじめとする三代目豊国の先学の研究はあるが、未開拓の作品も多く、『俳家書画狂題』もその一つである。『俳家書画狂題』は三十六図あり、その構図は「俳家書画狂題」と書かれた画題に、役者絵とともに発句と俳家名が書かれた短冊とが組み合わされている。本稿の対象となる国立国会図書館所蔵の『俳家書画狂題』は、書誌情報は明らかになっているが、ほぼ未研究の状態といえる。早稲田大学坪内博士記念演劇博物館所蔵のものは、書誌情報とともに一部役者名とその役者が演じた外題、配役名の解明がある。また国文学研究資料館所蔵のものは、書誌情報に加え、二図については時代背景として、天保の改革による役者絵出版の制約のなか、「句兄弟」「絵兄弟」から派生した趣向であるとの考察がある。以上の先行研究から鑑みると、『俳家書画狂題』の研究は、一枚の役者絵図に、組み合わせとして、なぜその発句と俳家が選ばれたのかという考察がまだ行なわれておらず、全体像は曖昧模糊となっている。本稿は、天保の改革の制約を受けながら、「句兄弟」「絵兄弟」の表現様式を取り入れたという考察を踏まえ、役者絵と、短冊に記された発句と俳家名により、絵図に描かれた役者が演じた外題と配役名を、鑑賞者が推量する謎解きの趣向にもなっているという視点を提示し、具体例六図を挙げて、隠された趣向を明らかにする。これにより、本作品の作成意図が一層明確となって全容の解明が進み、当時の制作者や読者の、俳諧や歌舞伎、役者絵に対する関心の深さや受容水準の高さ、旺盛な諧謔精神を改めて示し、同時に俳諧・歌舞伎・役者絵という三つの文芸圏が、想像以上に活発に交流していたという時代様相を、新たに描出できたと考える。\n \n This article attempts to elucidate the entire scope of Utagawa Toyokuni Ⅲ’s picture series, “Haika-shoga-kyōdai”, while considering the creator\u0027s underlying intention.\n Utagawa Toyokuni Ⅲ, was a painter who established the golden age of the genre of ukiyo-e depicting kabuki actors and is regarded as having been at the pinnacle of both quality and quantity.\n However, although there is previous research on Toyokuni Ⅲ, including Iijima Kyoshin’s research, there are still many unexplored works, and “Haika-syoga-kyōdai” is one of them.\n The series “Haika-shoga-kyōdai” consists of 36 separate pictures, the composition of each consists of a combination of the title of the series, the picture of an actor and a strip of paper with haiku poem and the name of a haiku poet.\n The bibliographic information of “Haika-shoga-kyōdai” in the collection of the National Diet Library, which is the subject of this article, has been revealed, but it has to date not been studied.\n The collection of the Tsubouchi Memorial Theater Museum at Waseda University contains bibliographic information, as well as some of the actors\u0027 names, the titles of the kabuki program, and the names of the cast.\n In addition to 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三代目歌川豊国画『俳家書画狂題』一考察《論文》
https://doi.org/10.24561/00019899
https://doi.org/10.24561/00019899470fccc0-126e-4011-9d70-b3b4a924e050
名前 / ファイル | ライセンス | アクション |
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KY-AA11946779-20-08.pdf (2.2 MB)
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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公開日 | 2023-04-12 | |||||
タイトル | ||||||
タイトル | 三代目歌川豊国画『俳家書画狂題』一考察《論文》 | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 俳家書画狂題 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 三代目歌川豊国 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 役者絵 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Haika-shoga-kyōdai | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Utagawa Toyokuni Ⅲ | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | actors' picture | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | ukiyo-e | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | haikai poetry | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | kabuki | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | departmental bulletin paper | |||||
ID登録 | ||||||
ID登録 | 10.24561/00019899 | |||||
ID登録タイプ | JaLC | |||||
タイトル(別言語) | ||||||
その他のタイトル | A Study on “Haika-shoga-kyōdai” painted by Utagawa Toyokuni III | |||||
著者 |
仲, 三枝子
× 仲, 三枝子 |
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著者 ローマ字 | ||||||
NAKA, Mieko | ||||||
著者 所属 | ||||||
埼玉大学大学院人文社会科学研究科博士後期課程 | ||||||
書誌情報 |
日本アジア研究 : 埼玉大学大学院人文社会科学研究科博士後期課程 (学際系) 紀要 en : Journal of Japanese & Asian studies 号 20, p. 247-277, 発行日 2023 |
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年月次 | ||||||
2023-3 | ||||||
出版者名 | ||||||
出版者 | 埼玉大学大学院人文社会科学研究科 | |||||
出版者名(別言語) | ||||||
出版者 | Graduate School of Humanities and Social Sciences, Saitama University | |||||
ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 13490028 | |||||
概要 | ||||||
内容記述タイプ | Other | |||||
内容記述 | 本稿は、三代目歌川豊国画『俳家書画狂題』について、制作者の作成意図を考察しつつ、全容の解明を進めたものである。 三代目歌川豊国は役者絵の黄金期を築きあげ、質・量ともにその最頂点に位置したと評価されている画師である。しかし、飯島虚心をはじめとする三代目豊国の先学の研究はあるが、未開拓の作品も多く、『俳家書画狂題』もその一つである。『俳家書画狂題』は三十六図あり、その構図は「俳家書画狂題」と書かれた画題に、役者絵とともに発句と俳家名が書かれた短冊とが組み合わされている。本稿の対象となる国立国会図書館所蔵の『俳家書画狂題』は、書誌情報は明らかになっているが、ほぼ未研究の状態といえる。早稲田大学坪内博士記念演劇博物館所蔵のものは、書誌情報とともに一部役者名とその役者が演じた外題、配役名の解明がある。また国文学研究資料館所蔵のものは、書誌情報に加え、二図については時代背景として、天保の改革による役者絵出版の制約のなか、「句兄弟」「絵兄弟」から派生した趣向であるとの考察がある。以上の先行研究から鑑みると、『俳家書画狂題』の研究は、一枚の役者絵図に、組み合わせとして、なぜその発句と俳家が選ばれたのかという考察がまだ行なわれておらず、全体像は曖昧模糊となっている。本稿は、天保の改革の制約を受けながら、「句兄弟」「絵兄弟」の表現様式を取り入れたという考察を踏まえ、役者絵と、短冊に記された発句と俳家名により、絵図に描かれた役者が演じた外題と配役名を、鑑賞者が推量する謎解きの趣向にもなっているという視点を提示し、具体例六図を挙げて、隠された趣向を明らかにする。これにより、本作品の作成意図が一層明確となって全容の解明が進み、当時の制作者や読者の、俳諧や歌舞伎、役者絵に対する関心の深さや受容水準の高さ、旺盛な諧謔精神を改めて示し、同時に俳諧・歌舞伎・役者絵という三つの文芸圏が、想像以上に活発に交流していたという時代様相を、新たに描出できたと考える。 This article attempts to elucidate the entire scope of Utagawa Toyokuni Ⅲ’s picture series, “Haika-shoga-kyōdai”, while considering the creator's underlying intention. Utagawa Toyokuni Ⅲ, was a painter who established the golden age of the genre of ukiyo-e depicting kabuki actors and is regarded as having been at the pinnacle of both quality and quantity. However, although there is previous research on Toyokuni Ⅲ, including Iijima Kyoshin’s research, there are still many unexplored works, and “Haika-syoga-kyōdai” is one of them. The series “Haika-shoga-kyōdai” consists of 36 separate pictures, the composition of each consists of a combination of the title of the series, the picture of an actor and a strip of paper with haiku poem and the name of a haiku poet. The bibliographic information of “Haika-shoga-kyōdai” in the collection of the National Diet Library, which is the subject of this article, has been revealed, but it has to date not been studied. The collection of the Tsubouchi Memorial Theater Museum at Waseda University contains bibliographic information, as well as some of the actors' names, the titles of the kabuki program, and the names of the cast. In addition to bibliographic information, previous research based on the series preserved at the National Institute of Japanese Literature have considered the work to be derived from the haikai poetic practice of pairing poems (“kukyōdai”) and pictures (“ekyōdai”), as well as clarifying the historical background of the series in the restrictions on the publication of actors' pictures during the Tempo's reforms. In view of the previous research, the study of “Haika-shoga-kyōdai” has not yet considered why the haiku and the haiku poet were chosen as a combination of a single picture of an actor, and the overall meaning of the series is ambiguous. This article is based on the consideration that the author(s), while being constrained by Tempo's reforms, used the expressive styles of “kukyōdai” and “ekyōdai” to circumvent the restrictions and it presents a new viewpoint that the series can be considered kind of a game, where the viewer guesses the title of the kabuki program and cast name based upon haiku and name of haiku poet written on strip. In fact, the paper clarifies the hidden hints by analysing six examples of “Haika-shoga-kyōdai”. At the same time, the paper ponders on the depth and high level of a common knowledge and acceptance of haiku, kabuki, and actor pictures among both the creators and readers of the time and demonstrates, the comic sprit of the age. Moreover, I believe that I was able to depict a new aspect of the Edo era in which the three literary spheres of haiku, kabuki, and actors' pictures were interacting more actively than imagined. |
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その他の言語 | ||||||
言語 | eng | |||||
版 | ||||||
[出版社版] | ||||||
著者版フラグ | ||||||
出版タイプ | VoR | |||||
出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
資源タイプ | ||||||
内容記述タイプ | Other | |||||
内容記述 | text | |||||
フォーマット | ||||||
内容記述タイプ | Other | |||||
内容記述 | application/pdf | |||||
作成日 | ||||||
日付 | 2023-04-12 | |||||
日付タイプ | Created | |||||
アイテムID | ||||||
KY-AA11946779-20-08 |