"Pictures and Countryside Words" - Egotohigen

Japanese: 《絵事鄙言》 - えごとひげん

…Nishikawa Sukenobu's "Painting and Coloring" (published in the 1742 edition of "Ehon Wabigoto") shows his awareness as an ukiyo-e artist who inherited the merits of Yamato-e. Kuwayama Gyokushu's "Gyokushu Painting" (1790) and "Eji Higen" (1799) are noteworthy for their original interpretations of the theories of Chinese Southern School painting and literati painting in order to justify Japanese Nanga. Satake Shozan's "Painting Guidelines" (1778) and Shiba Kokan's "Western Painting Discussions" (1799) evaluate the realistic techniques of Western painting from the perspective of practicality. …

From [Kuwayama Gyokushu]

…He was born as the son of Kuwayama Masazumi, a wealthy family who ran a shipping business, and took over the family business, but eventually switched to farming, working in land reclamation in the first half of his life. He then turned his attention to painting, and in the second half of his life he wrote excellent art treatises such as Gyokushu Painting Style and Kaijihigen, while also experiencing a period of great artistic success. Gyokushu initially taught himself the life-like style of Shen Nanpin, but later studied under Ike Taiga, and can be considered a transitional figure, so to speak, in the transition from Taiga to late literati painting. …

*Some of the terminology explanations that refer to "Ejihigon" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…西川祐信の《画法彩色法》(1742年刊の《絵本倭比事（わびごと）》所載)には，やまと絵の長所を継承する浮世絵師としての自覚がみられる。桑山玉洲の《玉洲画趣》(1790)，《絵事鄙言（ひげん）》(1799)は日本南画を正当づけるため，中国南宗画･文人画の理論を独創的に解釈したものとして注目される。佐竹曙山の《画法綱領》(1778)，司馬江漢の《西洋画談》(1799)は，西洋絵画の写実手法を実用性という観点から評価している。…

【桑山玉洲】より

…海運業を営む豪家桑山昌澄の子として生まれ，家業を継ぐが，やがて農業に転向，前半生は開墾事業に従事する。やがて画事に力を入れ，後半生においては《玉洲画趣》や《絵事鄙言（かいじひげん）》などすぐれた画論を著す一方，作画の面でも充実した時期を迎える。玉洲ははじめ沈南蘋の写生画風を独学で学んでいたが，後に池大雅にも師事し，大雅から後期文人画へと移行するいわば過渡的な存在といえる。…

※「《絵事鄙言》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典第２版について | 情報

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