没後50年「鏑木清方」展 Kaburaki Kiyokata: A Retrospective

会期ギリギリになってしまいましたが、日本画家「鏑木清方」展に行ってきました。

西(京都)の「上村松園」、東(江戸/東京)の「鏑木清方」と言われ近代日本画において美人画の名手ともされます。

It was only a short time until the end of the session, but I went to the exhibition of Japanese painter “Kiyokata Kaburaki”.

It is said to be “Uemura Shoen” in the west (Kyoto) and “Kiyokata Kaburaki” in the east (Edo / Tokyo), and is also a master of beautiful women’s paintings in modern Japanese painting

明治〜昭和期を生きた日本画家です。今年が没後50年の記念の年です。作品の保存状態も良く、綺麗な状態の素晴らしい絵が見れるのも今を生きる人の特権かなと思います。

A Japanese painter who lived in the Meiji and Showa periods. This year is the 50th anniversary of his death. I think it is a privilege of people living in the present to see a wonderful picture in a beautiful state because the work is well preserved.

「鏑木清方」略歴 Biography of “Kiyokata Kaburaki”

作品数も非常に多いので、簡単な略歴をまとめてみました。

Since the number of works is very large, I have summarized a brief biography.

Year Age出来事 Event
1878東京生まれ Born in Tokyo
父/ジャーナリスト・作家 Father: journalist / writer
母/芝居好き Mother : like watching theatrical performance
189113歌川派浮世絵師・日本画家 水野年方(父の仕事仲間)の元に弟子入り
Became a disciple of Utagawa ukiyo-e artist and Japanese painter Toshikata Mizuno (father’s colleague)
189315「清方」の号を師匠「年方」より贈られる
Received the “Kiyokata” gagô(Name) from the master “Toshikata”
189517〜父が新聞社の経営に転職したこともあり、
新聞の挿絵を手がける→挿絵画家として出発
Because his father changed his job to running a newspaper company,
Work on newspaper illustrations → Start as an illustrator
189720第2回日本絵画協会展へ出品(以後出展を重ねる)
Exhibited at the 2nd Japan Painting Association Exhibition (exhibited repeatedly after that)
192345関東大震災 Large Kanto Earthquake
192749第8回帝展 帝国美術院賞受賞 『築地明石町』
Received the 8th Imperial Exhibition Imperial Art Academy Prize “Tsukiji Akashicho”
1939〜4561~67第二次世界大戦 World war II
194466帝室技芸員に認定
Certified as an imperial artist
194668東京の自宅が空襲により焼け、鎌倉へ引っ越す(〜晩年まで)
絵画活動は続け、日展へ出展
His home in Tokyo was burned by an air raid and moved to Kamakura (until his later years)
He continued his painting activities and exhibited at the Japan Fine Arts Exhibition
194970この年で日展に出展したのち、大きな展覧会からは身を引く
その後、心の赴くままに小さな絵を描き続けた
He exhibited at the Japan Fine Arts Exhibition this year and then withdrew from the big exhibition.
After that, he continued to draw small pictures as his heart went.
195475文化功労者賞受賞/文化勲章受章
Received the Person of Cultural Merit Award / Received the Order of Culture
197293鎌倉の自宅にて老衰で亡くなる
Died of senility at home in Kamakura

挿絵画家から日本画家へ From illustrator to Japanese painter

挿絵画家として始まった清方の挿絵画業は20年近くにも及んだそうです。

Kiyokata’s illustrator business, which started as an illustrator, has been around for nearly 20 years.

あらゆる物語の挿絵に対応するために、和装も洋装も、江戸時代も明治時代も小物や調度をきちんと的確に描けるように、本屋に通い、美術書や雑誌、スタイルブックなどで勉強したそうです。

He went to a bookstore and studied in art books, magazines, style books, etc. so that he could draw Japanese and Western clothes, accessories and furnishings properly in the Edo and Meiji eras in order to correspond to the illustrations of all stories.

過度な説明がなくても分かるような、描写や人物のポーズ、構図もわずか数年のうちに吸収し、研究したそうです。

It seems that he absorbed and studied the depictions, poses of people, and compositions that can be understood without excessive explanation in just a few years.

そして挿絵画家としての仕事の傍、日本画家として展覧会にも出品しています。

Besides his work as an illustrator, he is also exhibiting at exhibitions as a Japanese painter.

鏑木清方は、明治・大正・昭和と3つの時代を生きた人物です。関東大震災、第二次世界大戦によりそれまで描いていた美しい東京は消えてしまったのかもしれません。人生の中でも画家として最盛期だったであろう時代に、災害・戦争が背景にあります。しかし、震災後も戦後も作品を描き続けたとされています。

Kiyokata Kaburaki is a person who lived in the three eras of the Meiji, Taisho, and Showa eras. The beautiful Tokyo that had been drawn up to that point may have disappeared due to the Great Kanto Earthquake and World War II. Disasters and wars are in the background of the times when he was probably the heyday of his life as a painter. However, he is said to have continued to paint his work after the earthquake and after the war

展覧会会場では当時の清方のインタビュー映像も放映されていました。「戦争の悲惨さを描き訴える画家も多い中、なぜ描かないのですか?」と聞かれていました。「好きでないことは描けないんですよ」と答えていました。描かないことが大きな深い意味を示しているようにも思えました。

An interview video of Kiyokata at that time was also broadcast at the exhibition hall. Kiyokata was asked, “Why don’t you draw while there are many painters who draw and appeal to the misery of war?” He replied, “I can’t draw what I don’t like.” I also thought that what he didn’t draw had a big and deep meaning.

見どころ Highlights

人物画 portrait painting

今回の展覧会の作品の多くが、人物画でした。主に女性の人物画ですが、その他にも男性、幽霊を描いたものもありました。

Many of the works in this exhibition were portraits. Mainly female portraits, but there were also male and ghost paintings.

髪の毛一本、肌の日焼け具合、少し湿り気さえ感じるほど細かく描かれています。

It is drawn so finely that you can feel a single hair, the degree of sunburn on the skin, and even a little dampness.

昭和の時代には、美人画の名手として知られていた清方でしたが、本人は美人画と区分されるのがあまり好ましく思っていなかったそうです。

In the Showa era, Kiyokata was known as a master of bijin-ga, but he didn’t like being classified as bijin-ga.(bijin-ga=Beautiful woman painting)

美人画とされると、作域が狭まってしまうと作域を広げようと模索していたそうです。やがて、人物と自然景観の調和を図り、風景画への領域拡大も進めていったとされています。

When classified as a bijin-ga, the area of drawing is narrowed, so he was looking for a way to expand the area of drawing. Eventually, he is said to have sought to harmonize the people with the natural landscape and expanded the area drawn in the landscape paintings

風景画といえば、鏑木清方の弟子の中に川瀬巴水がいます。清方のこういった絵に対する探究心や作域を広げる挑戦みたいなものも弟子に影響していたのかもしれません。鏑木清方は数多くの優秀な弟子を育てたことでも有名です。

Speaking of landscape painting, Hasui Kawase is one of the disciples of Kiyokata Kaburaki. Kiyokata’s inquisitiveness toward painting and the challenge of expanding his work may have influenced his disciples. Kiyokata Kaburaki is also famous for raising many excellent disciple

川瀬巴水については、過去の投稿でご紹介していますので、ご興味ある方はぜひ合わせてご覧ください。

Hasui Kawase has been introduced in past posts, so if you are interested, please read it as well.

私のオススメポイントMy favorite point

個人的な話ですが、実際のところ私は、人物画はあまり好きではありません。なので、普段見にいく日本美術の作品も基本的に動植物、風景画を展示している展覧会ばかりです。

Personally, I don’t really like portraiture. Therefore, I usually go to see only the exhibitions of Japanese art works that show animals, plants, and landscape paintings.

しかし、「鏑木清方」の絵は本当に細部に渡って描かれています。清方が作域を広げようと試みたように、人物以外も見どころが多いです。着物の女性の背景も、あえて洋館の柵や船があったりします。色彩のバランスも絶妙で、清方の描くものの選択のセンスも光ります。

However, the picture of “Kiyokata Kaburaki” is really drawn in detail. Just as Kiyokata tried to expand the painting-area (objects), there are many things to see other than people. As for the background of women in kimono, there are fences and boats in Western-style buildings. The overall color balance is excellent, and Kiyokata’s sense of choice is outstanding.

  • 着物 Kimono
  • 簪・漆芸品 Kanzashi / lacquering products
  • 傘 Umbrella
  • 四季の背景 Background of the four seasons
  • 植物 Plant
  • 御簾 Sudare

着物は人物の動きによって、滑らかな曲線の線で描かれています。線が長いので、相当な量を書き込んだ筆使いの技術の高さが伺えます。そして、特に着物の柄まで精巧に描いています。江戸小紋の着物とみられるものも、点描きで細かく描いています。

The kimono is drawn with smooth curved lines according to the movement of the person. Since the line is long, you can see the high level of skill of using a brush that wrote a considerable amount. And especially the pattern of the kimono is drawn elaborately. The kimono of Edo Komon is also drawn in detail with dots

髪の上にある簪も、漆黒の黒から蒔絵の柄、持っている傘の細かな部分。。。ととにかく人物以外の小物まであまりにも自然で見落としてしまいそうなくらいの描写です。漆芸品も日常に溶け込んで愛用されているのがよく分かります。

The hairpin on the hair is also a jet-black black with a lacquer work pattern, and the small parts of the umbrella that I have. .. .. Anyway, it is a depiction that even small items other than people are so natural that they are likely to be overlooked. I understand that lacquering products are also used regularly because they blend in with everyday life.

そして私は清方の描く植物も大好きです。特に菊と朝顔の描き方が好きで今回の展覧会でも人物よりも見入ってしまいました。四季折々の植物も花びら一枚一枚、綺麗に描かれています。

And I also love the plants that Kiyokata draws. I especially like how to draw chrysanthemums and morning glories, and even at this exhibition, I was more interested in them than people. The plants of the four seasons are also beautifully and carefully drawn one by one on the petals.

図録裏表紙より From the back cover of the catalog

また御簾や傘といった直線的なものも正確に美しく描いています。

In addition, straight lines such as bamboo blinds and umbrellas are drawn accurately and beautifully.

図録ではどうしても人物を中心に全体像が主で、背景や小物はあまり拡大されません。ぜひ実物をご覧ください。残念ながら今回の展覧会は撮影不可でした。鏑木清方の絵は、どんなに印刷技術が優れていてもやはり実物に勝るものはないと思うものばかりです。

In the catalog, the whole picture is inevitably centered on the person, and the background and accessories are not enlarged very much. Please take a look at the real thing. Unfortunately, this exhibition could not be photographed. Kiyokata Kaburagi’s paintings are nothing better than the real thing, no matter how good the printing technology is.

  • 掛け軸の表装 Hanging scroll decoration

そして最後に、今回の展覧会で、特に見入ったものの一つが掛け軸の表装です。

図録では、絵の部分だけ切り取られているので残念ながら掛け軸まで含めた全体像はありません。実際の絵の表装は、ぴったりと絵に合わせた日本の伝統的な宝尽くし文様や花文様と様々なものが表装されています。

もちろんそこには表装をする表具師の職人技があります。ここも見どころの一つだなと思いました。

In the catalog, only the part of the picture is cut out, so unfortunately there is no whole picture including the hanging scroll. The actual paintings are decorated with various Japanese traditional treasure-exhausting patterns and flower patterns that match the paintings exactly.

Of course, there is the craftsmanship of a Kyo-gu-shi who dresses up the paintings. I thought this was also one of the highlights.

「鏑木清方」の言葉 The words of “Kiyokata Kaburaki”

「願はくば日常生活に美術の光がさしこんで暗い生活をも明るくし、

息つまるやうな生活に換気窓となり、

人の心に柔らぎ寛ぎを与える親しい友となり得たい。」1928年

没後50年 鏑木清方展 図録 p.16より

“I hope that the light of art will shine into people’s daily lives, brightening the dark life, becoming a ventilation window for hard lives, and becoming a close friend who will soften and relax people’s hearts.” 1928

50 years after his death Kiyokata Kaburagi Exhibition Catalog p.16

当時のにわかに表面化してきた美術展覧会の不人気に焦りを感じたものではないかという指摘もあるとされています。私個人的にはもちろん生計を立てる上での背景もあったとは思いますが、根底に清方の優しい、柔らかい人柄みたいなものが滲み出ている言葉に思えました。

It is pointed out that at that time, the unpopularity of art exhibitions, which had gradually surfaced, made me feel impatient. Personally, of course, I think there was a background to making a living, but it seemed to me that Kiyokata’s gentle and soft personality was oozing out at the root.

また関東大震災後の言葉であることからも言葉の深さを感じ得ます。好きなものしか描かないけれど、自分の好きなもの、日常の中で美しいと思うもの、幸せを感じるものを共有したいと思ったのではないかなと思います。

I can also feel the depth of the words from the words after the Great Kanto Earthquake. He only draws what he likes, but I think he wanted to share with others what he likes, what he finds beautiful in everyday life, and what makes him happy.

今回の展覧会のキャッチコピー「なんでもない一瞬がなによりも美しい」という言葉が特に鏑木清方の絵が語っているようにも思えました。

The catch phrase of this exhibition, “A moment of nothingness is more beautiful than anything else,” seemed to be especially spoken by Kiyokata Kaburaki’s paintings.

展示作品数も多く、見応えも見どころも多い展覧会でした。一通り見終わるとかなり目が疲れました。

It was an exhibition with many works on display and many highlights. When I finished looking through it, my eyes got tired.

また今回の展覧会の目玉とされている表紙になっている作品は、長きにわたり所在不明とされていた貴重な作品です。作品ごとに清方の描いた時の年齢も表記されています。清方の人生の全体像とその時代背景を追って見ることができます。

In addition, the work on the cover, which is the centerpiece of this exhibition, is a valuable work whose whereabouts have long been unknown. The age at the time of Kiyokata’s drawing is also shown for each work. You can see the whole picture of Kiyokata’s life and its historical background.

展覧会の最後の絵が70歳の時に描いた絵で、とても70歳とは思えない筆の線でした。当時の70歳という年齢は今でいう80歳近いのかもしれません。私より前に見ていた杖をついたご夫婦がとても感心していて、「やはり努力の蓄積がないとここまで描けないわね」としみじみおっしゃっていました。私も後から見てしみじみそう思っていました。

The last picture in the exhibition was a picture he drew when he was 70 years old, and it was a brush line that I couldn’t think of when he was 70 years old. The age of 70 at that time may be close to 80 now. The old couple with a cane that I had seen before me was very impressed, and he said, “He can’t draw this far without the accumulation of efforts.” I was convinced by their words afterwards.

東京国立近代美術館では5月8日までですが、その後京都国立近代美術館にて展示されるようですのでご興味ある方はぜひ行ってみてください。また今年は没後50年の記念の年なので、注目される年になるのではないかと思います。

It will be exhibited at the National Museum of Modern Art, Tokyo until May 8th, but it seems that it will be exhibited at the National Museum of Modern Art, Kyoto after that, so if you are interested, please go. In addition, this year is the 50th anniversary of his death, so I think it will be a year of attention.

また鏑木清方は帝室技芸員でもあります。帝室技芸員制度については、蒔絵の帝室技芸員についての過去の投稿でも取り上げていますので、ご興味ある方はぜひ合わせてご一読ください。

Kiyokata Kaburaki is also an imperial artist. The Imperial Household Artist system has been covered in past posts about the Imperial Household Artist in Maki-e, so if you are interested, please read it as well.

Information

↓公式サイトでは作品の画像も見れます。

↓You can also see the images of the works on the official website.

展覧会開催会場
東京国立近代美術館:~2022.5.8
京都国立近代美術館:2022.5.27~7.10

Exhibition venue
The National Museum of Modern Art, Tokyo: ~ 2022.5.8
The National Museum of Modern Art, Kyoto: 2022.5.27 ~ 7.10

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