先日ですが、NHKの歴史探偵と言う番組で、応挙と若冲コラボの屏風についてとりあげられていました。

 

過去こちらのブログでもぶやきをしたと思うのですが、その屏風が現在、大阪中之島美術館「日本美術の鉱脈展　未来の国宝を探せ！」展において展示（会期は2025年6月21日〜8月31日）開催されております。

 

 

 

 

伊藤若冲（1716～1800年）と円山応挙（1733～1795年）の初の合作（競作）屏風（個人所蔵）から見つかり、10月に美術史家の山下裕二・明治学院大学教授と大阪中之島美術館が東京都内で記者会見を開いておりましたが、江戸時代を代表する絵師若冲と応挙のコラボ作品の初発見に、まずもって驚くのですが、日本美術にはいまだ世に知られていない作者・作品が数多く埋もれているのだな…とも実感。欲が張って、まだ他にもすごい美術品がこれからも見つかるんじゃないか…なんて期待も膨らみますよね。

 

そんなコラボ屏風（詳しくは実際に足をお運びになるか、美術館のサイトなどを調べてほしのですが）

 

左隻　伊藤若冲《竹鶏図屏風》

若冲が最も得意とした鶏7羽（ひよこ含む）が竹林の中でのびのびと過ごす姿が勢いのある筆でえがかれています。

 

右隻　円山応挙《梅鯉図屏風》

一隻ずつ手がけたとされる二曲一隻の屏風でありますが、同じ京都画壇で活躍しつつもこれまで接点がなかったとされる若冲と応挙の交流を決定づける資料でもあるようです。

 

昨日のTVでもやっておりましたが、伊藤若冲と円山応挙は同時代に京都で活躍した絵師なのではありますが、世代は実は応挙は若冲の17才年下。また、若冲が85歳まで長生きしたのに対し応挙は63歳で亡くなっています。世代は少し違うものの、交流はあったようですね。

 

また、若冲と応挙の家はどうやら目と鼻の先の近所だったようでして、若冲は「高倉錦小路上ル町」（京都の錦市場のあたり）応挙は「四条麩屋町東入ル町」。マップで調べますと距離にして300mくらいしか離れていないご近所もご近所だったようです。他にも与謝蕪村や、呉春、池大雅もどうやらご近所だったようで、着物の柄の絵師が多かった地域ですので、多くの絵師がお互い刺激を受け、その技術を競い合った地域だったのでしょうね。とは言え、あがってくる絵師の名前がすごい人ばかりなのですが。

 

ところで、何となくイメージとして応挙の方が年上のように思えますが、実は応挙は若冲の17才年下となります。また若冲が85歳まで長生きしたのに対し応挙は63歳で亡くなっており、これまで二人で共に手掛けた作品の存在は明らかになっていませんでした。

 

現代では若冲は「再発見」された絵師として認知されていますが、生前は京都画壇で応挙と肩を並べるとても名の知られたメジャーな存在でとても人気のある絵師だったようです。実際に当時京都に在住していた文化人・知識人を記した『平安人物志』安永四（1775）年版には、著名な画家20人中、応挙が筆頭でそれに次ぐ2番手に若冲の名前が記されており、お互いがその画力を認識しそれぞれリスペクトし合う仲であったようです。

 

しかし、いくら同じ時代のご近所さんだといえども共に人気の絵師、依頼もひっきりなしだった2人でしょうし、何の目的もなくコラボし作品を描くことなんて考えられませんよね。おそらくこの新発見の二曲一双屏風は、どこぞのお金のある依頼主が存在し、金屏風を仕立て、お2人に依頼したと考えるのが無難でしょうね。すごいことだ。

 

実際に新発見屏風は金箔の継ぎ目である箔足はくあしが左右で完全に一致しているようですので、このお金持ち依頼者は京都でナンバー1,2の絵師のコラボ屏風を、どうしても依頼して手に入れたかったのでしょうね。

 

それにしても、現代でも保存の良い状態で発見されているこの二曲一双屏風、長年大事に保管される方の手から手へ渡っていったと拝察しますが、令和の時代になって多くの人の前に現れるとは一体誰が想像したことでしょう。

 

こんなことを巡らしていると、欲が張って他にも世にお披露目になっていないすごい美術品が見つかるんじゃないか…なんて期待も膨らんでくるのですが。これきっと自分だけじゃないだろうな。

 

それではごきげんよう（スタッフY）

 

 

The other day, NHK’s program called “Historical Detective” featured a collaboration between Okyo and Jakuchu on a folding screen.

As I think I have mentioned in the past on this blog, the folding screen is currently on display at the Nakanoshima Museum of Art, Osaka, in the exhibition “The Veins of Japanese Art: In Search of Future National Treasures! exhibition at the Nakanoshima Museum of Art, Osaka (from June 21 to August 31, 2025).

 

 

The first collaboration (or competition) screen by Jakuchu Ito (1716-1800) and Okyo Maruyama (1733-1795) was found in a private collection of the museum, and a press conference was held in Tokyo in October by art historian Yuji Yamashita, professor at Meiji Gakuin University, and the Osaka Nakanoshima Art Museum. I was first of all surprised at the discovery of the first work by Jakuchu and Okyo, two of the most famous painters of the Edo period, but I also realized that there are still many unknown artists and works buried in the Japanese art world. It also makes one’s expectations grow that there are still more great works of art to be discovered in the future.

 

For more details about these collaborative folding screens, please visit the museum or check out the website,

 

Left screen – Jakuchu Ito, “Chikucho” (Chickens and Chickens)
Jakuchu was most skillful at depicting seven chickens (including a chick) in a bamboo grove, spending their time leisurely with vigorous brush strokes.

Right screen: Okyo Maruyama, “Plum Carp” (梅鯉図屏風) Two carp swimming in the water are depicted very realistically. These two carp in the water are the quintessence of Okyo, who amazed the people of his time by painting a flat (two-dimensional) picture that looks three-dimensional (three-dimensional) without 3D glasses, based on a thorough realism.

 

It is a folding screen of two panels, each of which is said to have been painted one by one, and it seems to be a document that determines the interaction between Jakuchu and Okyo, who were both active in the same Kyoto art circles but had never been in contact with each other before.

As it was shown on TV yesterday, Jakuchu Ito and Okyo Maruyama were painters who were active in Kyoto at the same time, but Okyo is actually 17 years younger than Jakuchu. Also, while Jakuchu lived to be 85 years old, Okyo died at the age of 63. So it seems that although their generations were a little different, they did interact with each other.

 

Also, it seems that Jakuchu’s and Okyo’s houses were right next to each other’s. Jakuchu’s house is in “Takakura Nishikikoji Kamiru-machi” (around Nishiki Market in Kyoto), and Okyo’s is in “Shijo Fuyacho Higashi-iru-machi”. According to the map, they were also neighbors, only about 300 meters apart. Since there were many kimono pattern painters in the area, many painters must have been stimulated by each other and competed with each other in their techniques. However, the names of the painters who have been brought up are all amazing.

 

By the way, it seems that Okyo is older than Jakuchu, but in fact, Okyo is 17 years younger than Jakuchu. Also, while Jakuchu lived to be 85 years old, Okyo died at the age of 63, so it has not been known until now that there were any works created by both of them.

 

Today, Jakuchu is recognized as a “rediscovered” painter, but in his lifetime, he was a very well-known and popular painter in the Kyoto art world, on par with Okyo. In fact, in the 1775 edition of “Heian Jininshi”, a book of cultural and intellectual figures living in Kyoto at that time, Jakuchu’s name is listed as the second most famous painter, after Okyo, out of 20 famous painters, and it seems that they both recognized and respected each other’s painting ability.

 

However, even though they were neighbors from the same era, they were both popular painters, and they must have received a lot of commissions, so it would be unthinkable for them to collaborate on a work without any purpose. It is probably safe to assume that some wealthy client had a gold folding screen made and commissioned the two artists to create it. That is amazing.

In fact, the left and right sides of the newly discovered folding screens seem to perfectly match each other at the gold leaf joints, so this rich client must have really wanted to commission and obtain a collaborative folding screen of the number 1 and 2 painters in Kyoto.

 

I assume that this folding screen, which has been found in a well-preserved condition even today, was passed from hand to hand from people who carefully kept it for many years, but who would have imagined that it would appear before many people in the 2025 era?

 

I wonder who would have imagined that in the 2025 era, so many works of art would have appeared before the eyes of so many people. I am sure I am not alone in this….

 

Have a good day (Staff Y)

 

 

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