{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100217002/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 雪景山水図","@language":"ja"},{"@value":"e-Museum - Snowy Landscape","@language":"en"},{"@value":"e国宝 - 雪景山水图","@language":"zh"},{"@value":"e국보 - 설경산수도","@language":"ko"}],"metadata":[{"label":[{"@value":"指定区分","@language":"ja"},{"@value":"Designation","@language":"en"},{"@value":"指定等级","@language":"zh"},{"@value":"문화재 지정 구분","@language":"ko"}],"value":[{"@value":"国宝","@language":"ja"},{"@value":"National Treasure","@language":"en"},{"@value":"国宝","@language":"zh"},{"@value":"국보","@language":"ko"}]},{"label":[{"@value":"分野","@language":"ja"},{"@value":"Category","@language":"en"},{"@value":"类别","@language":"zh"},{"@value":"분야","@language":"ko"}],"value":[{"@value":"絵画","@language":"ja"},{"@value":"Painting","@language":"en"},{"@value":"绘画","@language":"zh"},{"@value":"회화","@language":"ko"}]},{"label":[{"@value":"名称よみ","@language":"ja"}],"value":[{"@value":"せっけいさんすいず","@language":"ja"}]},{"label":[{"@value":"指定名称","@language":"ja"},{"@value":"Official title","@language":"en"},{"@value":"指定名称","@language":"zh"}],"value":[{"@value":"絹本墨画淡彩雪景山水図","@language":"ja"},{"@value":"絹本墨画淡彩雪景山水図","@language":"en"},{"@value":"絹本墨画淡彩雪景山水図","@language":"zh"}]},{"label":[{"@value":"作者","@language":"ja"},{"@value":"Creator","@language":"en"},{"@value":"作者","@language":"zh"},{"@value":"작자","@language":"ko"}],"value":[{"@value":"伝梁楷筆","@language":"ja"},{"@value":"Purportedly by Liang Kai","@language":"en"},{"@value":"相传为梁楷笔","@language":"zh"},{"@value":"양해 필 이라고 전해짐","@language":"ko"}]},{"label":[{"@value":"作者よみ","@language":"ja"}],"value":[{"@value":"りょうかい","@language":"ja"}]},{"label":[{"@value":"員数","@language":"ja"},{"@value":"Quantity","@language":"en"},{"@value":"数量","@language":"zh"},{"@value":"수량","@language":"ko"}],"value":[{"@value":"1幅","@language":"ja"},{"@value":"1 hanging scroll","@language":"en"},{"@value":"1幅","@language":"zh"},{"@value":"1폭","@language":"ko"}]},{"label":[{"@value":"品質形状","@language":"ja"},{"@value":"Media","@language":"en"},{"@value":"材质形状","@language":"zh"},{"@value":"재질/형태","@language":"ko"}],"value":[{"@value":"絹本墨画淡彩","@language":"ja"},{"@value":"Ink and light color on paper ","@language":"en"},{"@value":"绢本墨画淡彩","@language":"zh"},{"@value":"견본묵화 담채","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"110.8×50.1","@language":"ja"},{"@value":"110.8x50.1","@language":"en"},{"@value":"110.8×50.1","@language":"zh"},{"@value":"110.8×50.1","@language":"ko"}]},{"label":[{"@value":"時代・世紀","@language":"ja"},{"@value":"Period,Century","@language":"en"},{"@value":"年代・世纪","@language":"zh"},{"@value":"시대・세기","@language":"ko"}],"value":[{"@value":"南宋時代～元時代・13～14世紀","@language":"ja"},{"@value":"Southern Song dynasty -Yuan dynasty/13-14th century","@language":"en"},{"@value":"南宋时代～元代 13～14世纪","@language":"zh"},{"@value":"남송시대~원시대・13~14세기","@language":"ko"}]},{"label":[{"@value":"所蔵者","@language":"ja"},{"@value":"Owner","@language":"en"},{"@value":"收藏家","@language":"zh"},{"@value":"소장자","@language":"ko"}],"value":[{"@value":"東京国立博物館","@language":"ja"},{"@value":"Tokyo National Museum","@language":"en"},{"@value":"东京国立博物馆","@language":"zh"},{"@value":"도쿄국립박물관","@language":"ko"}]},{"label":[{"@value":"各館作品番号","@language":"ja"},{"@value":"Collection reference no.","@language":"en"},{"@value":"机构管理序号","@language":"zh"},{"@value":"기관관리번호","@language":"ko"}],"value":[{"@value":"TA-642","@language":"ja"},{"@value":"TA-642","@language":"en"},{"@value":"TA-642","@language":"zh"},{"@value":"TA-642","@language":"ko"}]}],"description":[{"@value":"梁楷は南宋の宮廷画家で、人物・山水・道釈・鬼神を巧みに描いた。南宋初めの宮廷画家である賈師古（かしこ）に学んだが、その描写は飄逸で出藍と謳われ、その精妙な筆は宮廷で敬服しないものはなかったといわれる。出山釈迦図と雪景山水図は梁楷の精妙な筆を示す人物画と山水画の代表作である。\n出山釈迦図は、永い苦行が正しい悟りへの道でないことを知って深山を出る釈迦の姿を描いたものだが、図中の「御前図面　梁楷」の落款から宮中で描かれたことが明らかな作品である。釈迦の顔貌にみられる精細で写実的な表現は、形似をこえて釈迦の内なる心をも伝えているようで実に秀逸なものである。\n雪景山水図は、厳しい冬の寒さの中、雪をいただく山を背後に旅をする騎驢の人物を描いているが、南宋の馬遠・夏珪風の、余白を多く用いて自然の一角のみを表す山水画とは異なり、自然のもつ大きさと奥深さを見事に表現している。梁楷の精妙な筆は、大きな雪山に対して微細な存在として描かれる騎驢の人物の精細な表現や、山合を渡っていく雁行の表現など画面の隅々にまで及んでおり、山水画家としての梁楷の力量を如実に示している。\n伝梁楷の雪景山水画は、梁楷派の画家による南宋から元時代の作品で、本来はもう少し大画面であったものが、おそらく三幅対に仕立てるために裁断されたものと思われる。\n梁楷の出山釈迦図と雪景山水図、伝梁楷の雪景山水図の3幅には、足利義満の「天山」印があることから、日本に舶載後、おそらく義満の時代に三幅対として鑑賞されるようになったと思われる。足利将軍家の蔵品目録である『御物御画目録』に「出山釈迦　脇山水　梁楷」と記録され、唐絵の最上の品格をもつ東山御物として重んじられてきた。足利家ののち若狭酒井家に伝わったが、その後、梁楷の雪景山水図は三井家へ、出山釈迦図と伝梁楷の雪景山水図は本願寺などに分かれて伝世した。昭和23年（1948）に三井家の雪景山水図が東京国立博物館の所蔵となって久しく時を経たが、平成9年（1997）に出山釈迦図、平成16年（2004）に伝梁楷の雪景山水図が相次いで東博の所蔵となり、長い年月を経て再び一具として揃うことになった。東山御物の最優品であるこの三幅対は極めて貴重であることから、それまで国宝、重要文化財に個別に指定されていたが、平成19年に1件の国宝に統合指定された。","@language":"ja"},{"@value":"Ryokai was a court painter of the Southern Song Dynasty and excelled in figure painting, sansuiga (landscape painting), paintings on Taoist and Buddhist themes and paintings of kishin (gods who dispel evil). Although he learned from Kashiko, a court painter in the early Southern Song Dynasty, it is said that Ryokai's style was carefree and his technique surpassed that of his teacher. Every person at the court admired his exquisite brushwork. These Shussanshakazu and Sekkeisansuizu are the best portrait and sansuiga that demonstrate Ryokai's excellent brushwork.\nThe Shussanshakazu depicts Shakamuni coming out of the mountains when he realized that a long practice of asceticism was not the way to satori (enlightenment). It is clear from the signature and seal of \"御前図面 (picture drawn in front of the Emperor) by Ryokai\" on the painting that this was drawn at Court. The fine and realistic expression on the face of Shakamuni goes beyond a simple likeness and seems to communicate his inner spirit. This picture demonstrates the quintessence of exquisite brushwork.   \nThe Sekkeisansuizu depicts a person on a donkey traveling in severe winter against a backdrop of snow-capped mountains. However, different from the sansuiga style of Baen and Kakei in the Southern Song Dynasty, where only part of nature is depicted by leaving a blank space, Ryokai perfectly depicts the greatness and depth of nature. Ryokai's exquisite brushwork extends over everything on the picture, such as the intricate representation of a person on a donkey as a small being against the grand snow-capped mountains and the representation of wild geese flying between the mountains, demonstrating his ability as a sansui painter.  \nThe Sekkeisansuizu authenticated as a Ryokai was drawn by a painter of the Ryokai school during the period from the Southern Song period to the Yuan period. It seems that the picture was originally larger, but cut later to make a triad.\nSince the seal of Ashikaga Yoshimitsu, \"Tenzan,\" is affixed to the three paintings of the Shussanshakazu, Sekkeisansuizu and Sekkeisansuizu authenticated as works by Ryokai, it seems that after being brought into Japan, they were made into a triad during the period ruled by Yoshimitsu. The triad was recorded in the Gyobutsu On'e Mokuroku, a list of assets of the Ashikaga Shogunate family, as \"Shussanshaka, Wakisansui, Ryokai\" and have been prized as Chinese paintings of the highest quality in Higashiyama Gomotsu (imperial collection of art objects, books, etc., in the Muromachi period). Later, the ownership of the triad shifted from the Ashikaga family to the Sakai family in Wakasa. Then the triad was separated and the Mitsui family owned the Sekkeisansuizu by Ryokai and Honganji Temple owned the Shussanshakazu and Sekkeisansuizu authenticated as works by Ryokai. Although a long time has passed since the Tokyo National Museum obtained the Sekkeisansuizu from the Mitsui family in 1948, the Museum acquired the Shussanshakazu in 1997 and the Sekkeisansuizu authenticated as a Ryokai in 2004. After so many years, they have finally been put together as a triad again. Since these three paintings – which are the best among Higashiyama Gomotsu – are extremely valuable, they used to be designated separately as national treasures and important cultural properties. In 2007, however, they were integrated and together designated as one national treasure.","@language":"en"},{"@value":"梁楷，南宋宫廷画家，擅绘人物、山水、道释、鬼神。师从南宋初期的宫廷画家贾师古，且画风飄逸，被赞誉为青出于蓝，据说其精妙笔法令宫廷之中无人不为之折服。出山释迦图与雪景山水图是展示梁楷精妙笔法的人物画与山水画的代表之作。\n出山释迦图所绘的是释迦在领悟长期苦行并非证悟之道后走出深山的姿态，从图中的落款“御前图面　梁楷”来看，明显可知此为他在宫中所创作的作品。而释迦容貌的精细写实表现手法早已超越形似，似乎向人们传递着释迦的内心，实为佳作。\n雪景山水图以大雪覆盖的高山为背景，绘有一位在酷冬严寒之中骑驴的旅人，与南宋马远、夏珪风大量使用留白、仅表现出自然一角的山水画不同，这幅画出色地表现出大自然的博大精深。画面中相对于大雪山显得细微渺小的骑驴人物的精细表现、以及雁群飞过山等画面的各个角落都展现了梁楷的精妙笔法，如实地体现了梁楷作为山水画家的不凡功力。\n传梁楷雪景山水画是南宋至元代的梁楷派画家的作品，估计原画面还要大些，可能是为了制成三幅成组摆设之需而被裁断。\n梁楷的出山释迦图和雪景山水图、传梁楷雪景山水图这三幅图上有足利义满的“天山”印，故推测画作被舶入日本之后，可能在足利义满时代曾作为三幅一组供人鉴赏。其在足利将军家的蔵品目录《御物御画目录》中被记载为“出山释迦　胁山水　梁楷”，作为东山御物中品相最佳的唐画而被珍藏。继足利家之后作品传至若狭酒井家，其后则分开传世，梁楷的雪景山水图传至三井家、出山释迦图和传梁楷雪景山水图传至本愿寺等地。昭和23年（1948），三井家的雪景山水图归东京国立博物馆收蔵。此后多年，出山释迦图于平成9年（1997），传梁楷雪景山水图于平成16年（2004）相继归东京国立博物馆收蔵，在经过漫长岁月之后作品终于再次成为一套。这三幅一组是东山御物的上乘佳作，极其珍贵，曾经分别被单独指定为国宝和重要文物，平成19年（2007）被合并指定为一件国宝。","@language":"zh"},{"@value":"양해(梁楷)는 남송의 궁정 화가로, 인물, 산수, 도교와 불교, 귀신과 관련된 제재를 능숙하게 그렸다. 남송 초기의 궁정 화가인 가사고(賈師古)에게서 가르침을 받았는데, 그 묘사는 자유롭고 스승을 뛰어넘는 것이라고 칭송 받았으며 그 세밀하고도 기묘한 필치는 궁정 화가들 모두가 탄복할 만한 것이었다고 한다. ≪출산석가도(出山釈迦圖)≫와 ≪설경산수도(雪景山水圖)≫는 양해의 정묘한 필치를 반영하는 인물화와 산수화의 대표작이다.\n≪출산석가도≫는 긴 세월에 걸친 고행이 올바른 깨달음의 길이 아님을 득도한 석가가 깊은 산을 나오는 모습을 그린 것으로, 그림에 찍힌 ‘어전도면 양해(御前圖面 梁楷)’라는 낙관을 통해 이 작품이 궁중에서 그려진 그림이라는 사실을 분명히 알 수 있다. 석가의 용모에서 볼 수 있는 세밀한 사실적 표현은 단지 형태를 비슷하게 그려낸 경지를 넘어 석가의 내면의 마음까지 전달하고 있는 듯한 실로 빼어난 것이다.\n≪설경산수도≫는 매서운 겨울 추위 속에서 눈 쌓인 산을 등지고 당나귀를 타며 여행하는 인물을 그린 것으로, 남송의 마원(馬遠)과 하규(夏珪)의 화풍처럼 여백을 한껏 사용하여 자연의 일각만을 나타내는 산수화와는 달리 자연이 지닌 광대함과 깊이를 멋들어지게 표현하고 있다. 거대한 설산에 비해 작기 그지없는 존재로서 그려지는 당나귀를 탄 인물의 세밀한 표현이나, 산을 넘어가는 기러기 떼의 표현 등 화면 구석구석까지 양해의 정묘한 필치가 드러나 있어 산수화가로서 양해가 지닌 역량을 여실히 보여주고 있다.\n양해의 작품으로 전해지는 ≪설경산수도≫는 양해파(梁楷派) 화가에 의한 남송~원나라 시대의 작품으로, 원래는 화면 크기가 좀 더 컸지만 아마 세 폭 한 벌로 제작하기 위해 재단된 것으로 추정된다.\n양해의 ≪출산석가도≫와 ≪설경산수도≫, 양해의 작품으로 전해지는 ≪설경산수도≫의 세 폭에 아시카가 요시미쓰(足利義満)의 ‘천산(天山)’ 인이 찍혀 있는 것으로 보아 일본에 넘어온 후 필시 요시미쓰 시대에 세 폭 한 벌로 감상된 것으로 추정된다. 아시카가 쇼군 가문의 소장품 목록인 ≪어물어화목록(御物御画目録)≫에는 ‘출산석가 협산수 양해(出山釈迦 脇山水 梁楷)’라고 기록되어 있으며, 당화 중 최상의 품격을 지닌 동산어물(東山御物)*로서 귀중히 보관되어 왔다. 아시카가가에 이어 와카사노쿠니(若狭国)의 사카이가(酒井家)에 전해 내려왔으나, 그 후 양해의 ≪설경산수도≫는 미쓰이가(三井家)로, ≪출산석가도≫ 및 양해의 작품으로 전해지는 ≪설경산수도≫는 혼간지 절 등에 나뉘어 전해 내려왔다. 1948년에 미쓰이가의 ≪설경산수도≫를 도쿄국립박물관에서 소장하게 된 지 상당한 시간이 흐른 지난 1997년에는 ≪출산석가도≫를, 그리고 2004년에는 양해의 작품으로 전해지는 ≪설경산수도≫를 연달아 도쿄국립박물관에서 소장하게 되면서 오랜 세월을 거쳐 다시 한 세트가 갖추어졌다. 동산어물 중 가장 뛰어난 작품인 이 세 폭 한 벌의 그림은 대단히 귀중한 가치를 지니고 있어, 당시까지는 국보와 중요문화재로 개별 지정되어 있었던 것이 2007년에 하나의 국보로 통합 지정되었다.\n\n* 동산어물: 무로마치 막부 8대 장군 아시카가 요시마사가 수집한 회화, 다기, 화기, 문구 등을 일컫는 명칭","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100217002001/1/thumbnail.jpeg","@type":"dctypes:Image","height":200,"width":94},"viewingHint":"individuals","viewingDirection":"","license":"https://emuseum.nich.go.jp/about","attribution":[{"@value":"独立行政法人国立文化財機構","@language":"ja"},{"@value":"National Institutes for Cultural Heritage","@language":"en"},{"@value":"国立文化财机构","@language":"zh"},{"@value":"국립문화재기구","@language":"ko"}],"logo":[{"@id":"https://emuseum.nich.go.jp/assets/img/logo.png"}],"rendering":{"@id":"https://emuseum.nich.go.jp/detail?langId=ja&webView=&content_base_id=100217&content_part_id=2&content_pict_id=0","label":[{"@value":"e国宝 - 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