Revival of Yamato-e - Fukko Yamato-e

This school of painting was born in the late Edo period with the aim of reviving classical Yamato-e painting. The Tosa and Sumiyoshi schools, who became the legitimate successors of Yamato-e painting as official painters for the imperial court and the shogunate in the early Edo period, became complacent in their status and fell into formalism, losing their fresh creativity by the middle of the Edo period. Aspiring painters keenly sensed the decline of Yamato-e, they studied Yamato-e paintings from the Heian and Kamakura periods in earnest search for the imperial aesthetic sense, and engaged in artistic activities that attempted to revive it in the modern era. This innovative movement, which began with Tanaka Totsugen, gained supporters by linking it with the pro-imperial ideology of the late Edo period, and was promoted by Totsugen's disciples Ukita Ikkei, Watanabe Kiyoshi, and Okada (Reizei) Tamechika.

[Etsuko Kato]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

江戸後期、古典大和絵の復興を目ざして生まれた画派。江戸初期に宮廷や幕府の御用絵師として、大和絵の正統的な後継者となった土佐派や住吉(すみよし)派は、その地位に安住して形式主義に陥り、中期を過ぎるころには生新な創造力を失ってしまう。このような大和絵の衰微を鋭敏に感じた意欲的な画家たちは、王朝的美意識を真剣に求めて平安・鎌倉時代の大和絵を研究し、その近世的な復興を試みる作画活動を行った。田中訥言(とつげん)に始まるこの革新的な運動は、幕末の勤王思想と結び付いて支持者を得、訥言の門人浮田(うきた)一蕙(いっけい)や渡辺清、あるいは岡田（冷泉(れいぜい)）為恭(ためちか)らによって推進された。

［加藤悦子］

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