収蔵品データベース

雨華庵風流うげあんふうりゅう

昭和25年(1950)

絹本着色・軸

50.7 × 56.5cm

復興三周年日本美術協会展

江戸後期、大名家に生まれた酒井抱一は、画事・文芸にすぐれ、俳諧に凝り、能・茶などに親しみました。のち、出家しましたが江戸に隠れ住み、自由な一市民として風流な生活を送りました。尾形光琳に私淑し琳派の画風に洒脱さを加えた江戸琳派の祖と称されます。雨華庵は抱一の別号で、雨華庵と名付けた根岸の庵居での晩年に、抱一は代表作を次々に制作しました。本作では撥(ばち)を置き、両手で膝を抱え、もの想いに耽る抱一を描いていますが、前年に描かれた下絵(抱一弄弦像)には撥を手にする抱一の絵姿もみえます。清方は明治42年(1909)の烏合会第19回展出品作《抱一上人》や、昭和35年(1960)に描いた《金沢瀬戸の夕潮》のなかにも酒井抱一を描いています。幼い頃から抱一作品に触れ、憧れの画家として心を寄せていました。


Ugean Fūryū (Portrait of Sakai Hōitsu) (1950)
color on silk; hanging scroll
50.7 x 56.5 cm
(First exhibited at Exhibition on the 3rd Anniversary of the Revival of the Japan Fine Art Association)

Born into a daimyo family in the late Edo period, Sakai Hōitsu excelled at painting and literature. He was an aficionado of haikai poetry, a style of linked verse, and knowledgeable about the Noh theater and the tea ceremony. Hōitsu entered the priesthood, but subsequently retired to Edo, where he led the informal, refined life of a city dweller. An ardent admirer of Ogata Kōrin, Hōitsu is commended for adding his sophistication to the Rimpa School of painting. Hōitsu also went by the name Ugean. He spent the last years of his life at his Negishi retreat, named Ugean, where he produced a series of masterpieces. In this painting, Kiyokata has depicted Hōitsu lost in thought, the plectrum for a shamisen placed on the floor and both hands wrapped around his knees, but there is another portrait of him holding the plectrum among the preparatory drawings done the previous year (“Hōitsu playing the shamisen”). Kiyokata exhibited Portrait of the Holy Priest Shōnin at the nineteenth Ugōkai exhibition in 1909. He also included a portrait of Sakai Hōitsu in Evening Tide at Kanazawa Seto painted in 1960. He have admired Sakai Hōitsu from his childhood.