| Summary: | 碩士 === 國立中央大學 === 藝術學研究所 === 98 === As a painter, Hashimoto Kansetsu (1883-1945) who had been one of Takeuchi Seihō‟s (1864-1942) students learnt Nihonga, Japanese-style painting. He was active in Daisō-Shōwa period, and joined, both Bunten and Teiten, Japanese official fine arts exhibition, totally twinty-seven times. Among works for Bunten and Teiten, he exhibited 34 pieces of paintings. Sixteen of these paintings are Chinese theme, both stories and fingures. Today, in academic researches, Hashimoto Kansetsu„s biography has been studied in detail, but studies about his paintings, especially the works about Chinese stories and figures, are still less in number. This study would focus on the painting, Chōkanga (Song of Lasting Sorrow). Chōkanga made in 1929, the painter‟s later period, is a monochromatic painting. It''s unique in all Kansetsu‟s paintings and reveals the mature strokes. I discuss the characters of his strokes, the using of Chinese traditional motifs and painting themes about the poem. And many parts of Chinese ancient paintings are recognized in this painting, showing how many Chinese ancient paintings Kansetsu had been seen. It''s important to understand what Japanese painters in Daisō-Shōwa period had been seen. Moreover, I will discuss how Kansetsu presented the shift of concept of art theories in Modern Japan in his work.
Bai Ju-yi‟s (772-846) poetry, Song of Lasting Sorrow is a popular theme in Japanese painting from Heian period. Kansetsu‟s work Chōkanga, is composed of five parts: the first one is about Minghuang and Guifei, the main characters in Song of Lasting Sorrow, promise each other on the Double Seventh Day; the second section catches the ending moment of Guifei’s bath. The third renders Minghuang and Guifei refuge to the west; the forth is the scene that Minghuang yearns for Guifei after her death. The last part is a Doaist asked by Minghuang finds Guifei on the ocean.
There are many works named “Chōkanga” in Edo period. In this study, I use 3 works of Edo period to compare with Kansetsu‟s. They are Chōkanga Gakan painted by Kanō Sansetsu (1560-1651),Chōkanga naraehon collected by Ōsaka Ōteni University, and Chōkanga naraehon collected by Kyōto Ryūkoku University. By discussing these 3 works, we can find out how painters incorporated poetry into illustration. The styles and expressions of the 3 works are different with each other; hence we could know that there were many types of Chōkanga illustration in the Edo period.
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Kansetsu‟s interpretation of the theme is different from traditional presentation. For example, he changed the format, and used the technique of white painting which is rarely used in the Bunten and Teiten. Comparing with Kansetsu‟s another work, Mokulanshi (Ballad of Mu-lan) and Kikkawa Reika‟s (1875-1929) Risō (The Lament), Kansetsu‟s stroke became more mature. The stroke of Chōkanga is like calligraphy but the lines of Risō are even and thin. This diverseness reveals Kansetsu‟s self-identification: he is not only a painter but a literatus. This work also presents a modern consciousness —Shinō Shūmi. Kansetsu did not attach much importance to confirm whether the materials in the painting were real items or not. Besides, he added his travel experience to display a dreamlike and exotic ancient China.
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