{"created":"2023-05-15T14:50:49.774286+00:00","id":4192,"links":{},"metadata":{"_buckets":{"deposit":"9ad1363f-20b3-4c53-baa5-352ae7737570"},"_deposit":{"created_by":3,"id":"4192","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"4192"},"status":"published"},"_oai":{"id":"oai:kokubunken.repo.nii.ac.jp:00004192","sets":["1:372:373:368"]},"author_link":["28552","28553"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2021-03-29","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"47","bibliographicPageEnd":"45","bibliographicPageStart":"5","bibliographic_titles":[{"bibliographic_title":"国文学研究資料館紀要 文学研究篇"},{"bibliographic_title":"The Bulletin of The National Institure of Japanese Literature","bibliographic_titleLang":"en"}]}]},"item_10002_description_19":{"attribute_name":"フォーマット","attribute_value_mlt":[{"subitem_description":"pdf","subitem_description_type":"Other"}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"  Research on KAGAWA Kageki up until now has been focused more on his waka treatise than waka he composed. In particular, the center of its research is his theory of shirabe (fine-tuning or tonal integrity), which is known as the discourse “Uta wa kotowaru mono ni arazu shiraburu mono nari.” (Kagaku teiyō).\n This study focuses on Kageki’s emphasized jitsubutsu (actual object) and jikkei (actual scenery) as an important methodology to support his theory of shirabe. This theory based on jikkei is now called jikkei-ron. Kageki used the terms jikkei and shinkei (true scenery [originally a term for painting treatises]) together, however, they had two meanings, jissai no keshiki (the scenery as it is) and makoto no keshiki (the scenery with the poet’s emotion).\n  First, the words jikkei and shinkei were searched for in his waka treatise, commentaries and judgments at the poetry matches. Next, how these words were used in his jikkei-ron was analyzed. Then it was confirmed that jikkei which Kageki advocated did not mean the scenery as it is, but the scenery with the emotions that the poet felt.\n  In fact, the concept of Kageki’s jikkei-ron was found in the treatises of painting and even Chinese poetry. For example, YAMAMOTO Hokuzan’s poetic treatise is based on YUAN Hongdao’s Xìng Líng Shuo (seireisetsu) in the Ming Dynasty as a theoretical pillar. The poetic circles influenced by seireisetsu were precisely the hallmark of that era, and it seems to have been the catalyst for Kageki’s jikkei-ron. It should not be overlooked that an aspect of realism in painting can be seen in KASHIWAGI Jotei’s translation and commentary on Kaishiengaden.\n In the history of painting treatises, especially in Kyoto, the new style of Shasei-ga (sketching as it is) by the Maruyama-Shijō School became very popular. Eventually, a theory, which turned into shasei, appeared in the Kansei era. It was the painting treatise of KUWAYAMA Gyokushū, a literary painter, who developed his own shinkei-ron that respected the artist’s creativity while emphasizing the importance of shinkei. It was a unique theory that paintings could not be made only by the reproduction of jissai no keshiki, that is, shasei, and that it had to be accompanied by the artist’s heart (art historians generally refer to Gyokushū’s treatise as shaiteki shinkei-ron). This theory is quite similar to Kageki’s jikkei-ron. It seems that there was a good chance  that Kageki could have come across Gyokushū’s painting treatise. \n  In the Meiji period, KUBOTA Utsubo repeatedly explained the importance of heart in poetry composition while being conscious of MASAOKA Shiki’s sketch theory. It is considered that Kageki’s jikkei-ron was at the root of Utsubo’s discourse. \n　香川景樹の研究は、これまで、どちらかと言えば和歌よりも歌論を対象として進められてきた。とりわけその中心は「歌はことわるものにあらず、調ぶるものなり」 （『歌学提要』）との言説で知られる「調（しらべ）」の説である。\n 本稿では新たに、その「調」歌論を支える重要な方法論として、景樹が「実物・実景」を重視していたこと（いまこれを〈実景論〉と呼称する）に着目する。景樹は「実景」と「真景」の語を併用していたが、その語義には「実際ノケシキ」と「マコトノケシキ」の両義があった。 \n　まず、景樹の歌論や注釈、歌合の判詞の中から「実景」「真景」の語を追跡してその〈実景論〉の位相を解析し、景樹の唱える「実景」が、あるがままを言うのではなく、思うままの「実情」を自然に詠ずるものであったことを確認した。 \n　そのような景樹の〈実景論〉は、実は詩論と画論にも共通して見出されるものであった。例えば山本北山の詩論は明の袁宏道の性霊説を理論的支柱とするものであり、性霊詩観に染まった詩壇はまさに「時代相」として、景樹が〈実景論〉を首唱する際の機縁になったと思しい。柏木如亭による『芥子園画伝』の訳注本に、画における現実主義の様相が見てとれることも看過できない。 \n　画論史に就けば、特に京都において、円山四条派による新様式「写生画」（ありのままに描く）が一世を風靡したが、やがて寛政期に入ると「写生」に代わる新しい考え方が登場してくる。文人画家の桑山玉洲の画論がそれであり、彼は「真景」を重用しつつ、そこに画人の創意を尊重した独自の〈真景論〉を展開した。それは、「実際ノケシキ」の再現つまり「写生」のみでは作品とは成り得ず、さらにそこに画人の「気韻」（こころ）が要請されなければならないとする特異なものであった（美術史家によって「写意的真景論」と呼称されている） 。この理論は、景樹の〈実景論〉とかなりの類似性が認められる。景樹が玉洲の画論に接し得た可能性も十分にあったのではないかと思量する。 \n　なお、明治に入ると、例えば窪田空穂は、正岡子規の写生歌論を意識しつつも、作歌における情（こころ）の重要性を繰り返し説いた。その歌論的立場の根底には、景樹の〈実景論〉があったと思われる。","subitem_description_type":"Abstract"}]},"item_10002_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"国文学研究資料館"}]},"item_10002_relation_17":{"attribute_name":"関連サイト","attribute_value_mlt":[{"subitem_relation_name":[{"subitem_relation_name_text":"神作　研一"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"https://researchmap.jp/read0181106","subitem_relation_type_select":"URI"}}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"2436-3316","subitem_source_identifier_type":"ISSN"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"神作, 研一"},{"creatorName":"カンサク, ケンイチ","creatorNameLang":"ja-Kana"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"KANSAKU, Ken'ichi","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2021-04-14"}],"displaytype":"detail","filename":"KB4707.pdf","filesize":[{"value":"658.8 kB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"A Study of Jikkei-ron : An Aspect of KAGAWA Kageki’s Karon","url":"https://kokubunken.repo.nii.ac.jp/record/4192/files/KB4707.pdf"},"version_id":"85af4395-b814-4ac4-834a-ac1aa9229745"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"Jikkei-ron","subitem_subject_scheme":"Other"},{"subitem_subject":"KAGAWA Kageki","subitem_subject_scheme":"Other"},{"subitem_subject":"KUWAYAMA Gyokushū","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"A Study of Jikkei-ron : An Aspect of KAGAWA Kageki’s Karon","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"A Study of Jikkei-ron : An Aspect of KAGAWA Kageki’s Karon"},{"subitem_title":"A Study of Jikkei-ron : An Aspect of KAGAWA Kageki’s Karon","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"3","path":["368"],"pubdate":{"attribute_name":"公開日","attribute_value":"2021-04-14"},"publish_date":"2021-04-14","publish_status":"0","recid":"4192","relation_version_is_last":true,"title":["A Study of Jikkei-ron : An Aspect of KAGAWA Kageki’s Karon"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T15:15:48.079885+00:00"}