Josetsu - Josetsu

Years of birth and death unknown. A painter-monk from Shokoku-ji Temple in Kyoto who was active during the Oei period (1394-1428) of the Muromachi period. He is said to have been the teacher of Shubun, who was at Shokoku-ji Temple at the time. He is believed to have worked on numerous paintings under the guidance and support of the fourth shogun, Ashikaga Yoshimochi, and played a central role in the early world of ink-wash painting. He was highly renowned as a painter even during his lifetime, and later, in his book "Tohaku Painting Theory," Hasegawa Tōhaku praised Josetsu as the founder of the Tang style (Song and Yuan painting), mentioning his leading position in the history of ink-wash painting. The name Josetsu was given to him by the famous contemporary monk Zekkaichishin, who meant "great skill is as good as one's ignorance ." One of his representative works is "Hyonenzu" (National Treasure, Taizoin Temple, Kyoto). This is an illustration of a Zen koan, "How can one hold a slimy sweetfish with a round, smooth gourd?" and was created by order of Shogun Yoshimochi. On top of the illustration are poems by 31 of the most representative Zen monks of the Five Mountains at the time, including Daigaku Shusū and Gyokuen Bonpō. It is clear that he learned from Song Dynasty temple-style painting, such as the use of a wide margin in the "henkakukei" (corner-view) composition and the technique of reducing strokes, and this work determined the direction that Japanese ink painting should take thereafter. Other famous works by Josetsu include "Wang Xizhi's Calligraphy Fan" (Kyoto National Museum) and "Three Teachings" (Ryosokuin Temple, Kyoto).

[Satoru Sakakibara]

"Complete Collection of Japanese Art Paintings 2: Josetsu/Shuwen" by Takaaki Matsushita (1981, Shueisha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

生没年不詳。室町時代の応永(おうえい)期（1394～1428）に活躍した京都・相国寺(しょうこくじ)の画僧。当時相国寺にあった周文の師とも伝えられる。4代将軍足利義持(あしかがよしもち)の指導と援助で数々の画作に従事したと推定され、初期水墨画壇の中枢的役割を果たした。生前より画名高く、のちに長谷川等伯(はせがわとうはく)は『等伯画説』のなかで如拙を唐様(からよう)（宋元画(そうげんが)）の開山と評し、その水墨画史上での指導的地位に言及している。如拙の号は、同時代の名僧絶海中津(ぜっかいちゅうしん)が「大巧(たいこう)は拙なるが如し」の意から命名したという。代表作に『瓢鮎図(ひょうねんず)』（国宝、京都・退蔵院）がある。これは「円くすべすべした瓢箪(ひょうたん)でぬるぬるした鮎(なまず)をおさえるには如何(いかん)」という禅の公案を図示したもので、将軍義持の命で制作されたもの。図上に大岳周崇(たいがくしゅうすう)、玉畹梵芳(ぎょくえんぼんぽう)など当時の五山を代表する禅僧31名が詩を寄せている。余白を大きくとった辺角景(へんかくけい)構図法や減筆の手法など、宋の院体画に学んだことが明らかで、以後のわが国の水墨画の進むべき道を決定づけた作品である。これ以外の如拙の作としては、『王羲之書扇図(おうぎししょせんず)』（京都国立博物館）、『三教図』（京都・両足院）などが著名。

［榊原　悟］

『松下隆章著『日本美術絵画全集2　如拙／周文』（1981・集英社）』

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例