Pengcheng Hyakusen - Sakaki Hyakusen

Japanese: 彭城百川 - さかき・ひゃくせん

Year of death: August 25, 2nd year of the Horeki era (October 2, 1752)
Year of birth: 10/10/28 (1697/12/11)
A nanga painter of the mid-Edo period. His given name was Mabuchi and his pen name was Momokawa. He was also known by the pen names Hoshu and Hassendo. He was commonly known as Tosaya Heihachiro. He is said to have been born into a Nagoya drug dealer family called Hassendo, or to have been adopted into the family. He initially aspired to be a haiku poet and studied under Kagami Shiko, taking the pen names Shokaku and then Shokaku. In 1726 (Kyoho 11), he published the anthology Honcho Hassenshu, which he illustrated himself, but after this a rift developed between him and his teacher Shiko. From the age of 32, he based himself in Kyoto and traveled to Hokuriku and Nagasaki, and from around the age of 48, he began to paint professionally, attaining the rank of Hokkyo during the Genbun era (1736-41). He appears to have mastered painting by studying Chinese paintings and painting manuals imported at the time, but his style ranges from those imitating Genmei paintings such as "Red and White Plum Blossoms Screen" (private collection) and "Spring and Autumn Mountains and Rivers Screen" (Tokyo National Museum collection), to a fusion of Southern and Northern School paintings such as his representative works, the screen paintings at Jimon-in (Suwara family) at Mt. Tabumine in Nara, as well as haiku painting and Japanese painting. As a painter and haiku poet, he influenced Yosa Buson and is considered one of the pioneers of Nanga. He also published "Yanming Painter Study" (1751), a dictionary of Chinese painters that adds his own observations to Chinese calligraphy.

(Hoshino Suzu)

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

Japanese:

没年：宝暦2.8.25(1752.10.2)
生年：元禄10.10.28(1697.12.11)
江戸中期の南画家。名は真淵,字は百川。蓬州,八僊(仙)堂などと号した。通称土佐屋平八郎。八僊堂と称する名古屋の薬種商の家に生まれたとも同家に婿養子として入ったともいわれる。はじめ俳句を志して各務支考に師事し,松角,次いで昇角と号した。享保11(1726)年には自身で挿絵を入れた選集『本朝八僊集』を刊行したが,こののち,師の支考との間に亀裂を生じている。32歳のころから京都を拠点として北陸や長崎に遊び,48歳ごろからは絵を職業とする生活に入り,元文年間(1736～41)には法橋位を得るに至った。絵は当時舶載の中国画や画譜類を学びながら習得していったらしいが,その作風は「紅白梅図屏風」(個人蔵),「春秋江山図屏風」(東京国立博物館蔵)のような元明の画に倣ったものや,代表作である奈良多武峯の慈門院(陶原家)障壁画群のような南宗画と北宗画を折衷したようなものから俳画や和画などまで様々なスタイルをみせている。画俳両道に進むものとして与謝蕪村に影響を与え,南画の先駆者のひとりとされる。また,中国の書に自らの見聞を加えた中国画家人名事典『元明画人考』(1751)を刊行している。

(星野鈴)

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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