Lady Oborozukiyo
- Person
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作者Attributed to IWASA Matabe
- Date
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制作年 江戸
- Title
- オボロヅキヨナイシズ
- Measurements
- 119.2×53.0
- Materials, techniques and shape
- colour on paper
- Collections
- Century Akao Collection
- Depository
- Keio Museum Commons Campus Mita
- Ref. number
- AW-CEN-002037-0000
- License
- CC BY Images license
- Creditline
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慶應義塾（センチュリー赤尾コレクション）
- URL
- Classification
- Art
- AI Tagging
- Shoe Wood Art Outdoor shoe Pattern
光源氏と朧月夜内侍の弘徽殿の廊での逢瀬（『源氏物語』「花宴」）の場面を描く。筆者を岩佐又兵衛〈1578-1650〉という。又兵衛は、江戸時代初期の画家で、名は勝以。伊丹城主荒木村重の末子として生まれたが、織田信長に滅ぼされた荒木家であったが、救出された母方の岩佐姓を名乗って、画家として生計を立てる。元和元年〈1615〉ころより20年間福井に住して藩主松平忠直・忠昌の庇護のもとで画才を磨いた。晩年に江戸に出て活躍した。美人図・風俗画に新風を吹き込んだ、独特の画風が珍重された。この図様は、「旧金谷屏風」（６曲１双）と通称される12枚の作品群の１枚であった源氏物語・朧月夜図とわずかな差異を除いて全く同一の図様。「旧金谷屏風」は、福井藩を代表する豪商・金谷家に伝来した。金谷家が初代藩主結城秀康の３男直政（松江藩主）を養育したことに対する謝礼として贈られたものという。各扇異なる画題を配したもので、現在では軸装となって、東京国立博物館（３図）・出光美術館（２図）・山種美術館ほか諸家に分蔵される。本図が、この「金谷屏風」の写しか、あるいは又兵衛が複数同図で描いていたものかの判定は今後に譲る。なお、本図は、三河国を本拠とする武士団で、代々、松平・徳川氏に仕えた家臣本多家の末裔本多子爵家伝来の品であったという。
This painting depicts a scene from the ‘Festival of the Cherry Blossoms’ chapter of The Tale of Genji, in which Prince Genji spends the night with Lady Oborozukiyo. In earlier paintings of this scene, Genji is usually depicted as watching the lady from a short distance, while she holds a fan and strolls through the small Kokiden room of the Imperial Palace on the night of the festival. However, this painting depicts the dramatic moment when Genji takes the lady into his arms and opens the sliding door of the room. The artist IWASA Matabei (1578–1650) first painted the scene in this way, and it had a great influence on later depictions of The Tale of Genji.
The outlines of Prince Genji and Lady Oborozukiyo in this work are identical to those depicting the same scene on the Kanaya Screens. The Kanaya Screens are works that Matabei painted in his 40s, and were mounted onto hanging scrolls during the Meiji era (1868–1912). Different from the Kanaya Screens, this work has been signed with the name ‘Katsumochi’. Since the moon in the background is not hidden behind the haze, which reduces the sense of depth in the original, and the lines lack the vigor of other works by Matabei. We can assume that this work was produced in Matabei’s workshop after his death, and painted from the same copybook as this scene on the Kanaya Screens.
Description from the exhibition Catalogue "Letter-scape: Century Akao Collection, A World of Letters and Figures", Keio Museum Commons, April 2021
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- Title (EN)
- Lady Oborozukiyo
Physical description
- Weights and quantities
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Quantity 1幅
Provenance
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