Takamitsu Awataguchi - Awataguchi Ryuko

Japanese: 粟田口隆光 - あわたぐち・りゅうこう

Year of birth: Year of birth and death unknown. A representative artist of the Awataguchi school, a school of Yamato painting from the Muromachi period. He is known to have been active from the end of the Northern and Southern Courts period to the Eikyou era (1429-41) in the early Muromachi period. The Awataguchi school was based on the Rakuto Awataguchi Kaido (Sakyo Ward, Kyoto City), and was a group of Buddhist sculptors who worked for the local powerful temples and shrines, such as Shoren-in, Gion-sha, and Otani Hongan-ji, but at the same time, they played a part in the Yamato painting world of the Muromachi period alongside the Tosa school. Buddhist sculptors were specialized artists who worked on the production of Buddhist paintings based in temples, and like Buddhist sculptors, they were given the rank of Socho, and were also distinguished from Zen Buddhist monks and painters. Takamitsu was also a Buddhist sculptor who called himself Tamibu Hogen, but he had a wide range of work, including picture scrolls and ink paintings. His two remaining works are a part of "Yuzu Nembutsu Engi" (around 1417) from Seiryoji Temple, a monumental work of Muromachi picture scrolls, and "Eden of Saint Shinran" (1426), which was given to Kaga Ganjoji Temple by Otani Honganji Temple. His style is based on traditional Yamato painting techniques, but also has a simplicity and commonality. There are many records of his later years in the Kanmon Goki, and he worked as an artist in the salons of Gosukōin and Emperor Gohanazono. The family line continued until around the Eishō period (1504-21) 100 years later, but their status never reached that of the Tosa school. <References> Aizawa Masahiko, "Thoughts on Awataguchi-eshi (vols. 1 and 2)" (Kobyūbijutsu, issues 83 and 84)

(Masahiko Aizawa)

Source: Asahi Japanese Historical Biography: Asahi Shimbun Publications Inc. About Asahi Japanese Historical Biography

Japanese:

生年：生没年不詳
室町期のやまと絵の一派粟田口派の代表的な絵師。南北朝末期から室町初期の永享年間(1429～41)までの活躍がみられる。粟田口派は洛東粟田口街道(京都市左京区)に居を構え,当地の権門青蓮院,祇園社,大谷本願寺などの寺社の御用にあずかった絵仏師集団であったが,同時に土佐派と並んで室町期のやまと絵画壇の一翼を担った。絵仏師は寺院を拠点に仏教絵画の制作に従事した専門の絵師で,仏師と同じように僧綱位を与えられ,また禅宗の画僧とも一線を画した。隆光も民部方眼を名乗った絵仏師だが,絵巻物や水墨画など広い作域を持っていた。作品として室町絵巻の金字塔的性格を持つ清凉寺の「融通念仏縁起」(1417頃)の一部と,大谷本願寺から加賀願成寺へ下された「親鸞上人絵伝」(1426)のふたつが残る。画風は伝統的なやまと絵の筆法をふまえつつ,平明さや平俗性が加わる。晩年は『看聞御記』に記録が多く,後崇光院・後花園天皇サロンの画事を勤めていた。その家系は100年後の永正(1504～21)ごろまで続いたが,その地位はついに土佐派におよぶことがなかった。<参考文献>相沢正彦「粟田口絵師考(上下)」(『古美術』83・84号)

(相澤正彦)

出典　朝日日本歴史人物事典：（株）朝日新聞出版朝日日本歴史人物事典について　情報

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