{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/101313000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 小袖 染分綸子地若松小花鹿紅葉模様","@language":"ja"},{"@value":"e-Museum - Kosode (kimono with small wrist openings) Young pine, small flower, deer, and maple leaf design on parti-colored figured satin ground","@language":"en"},{"@value":"e国宝 - 小袖 分染纶子地若松小花红叶鹿图案","@language":"zh"},{"@value":"e국보 - 고소데 염색 린즈(綸子)바탕 작은 소나무와 꽃 사슴 단풍무늬","@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":"重要文化財","@language":"ja"},{"@value":"Important Cultural Property","@language":"en"},{"@value":"重要文化财","@language":"zh"},{"@value":"중요문화재","@language":"ko"}]},{"label":[{"@value":"分野","@language":"ja"},{"@value":"Category","@language":"en"},{"@value":"类别","@language":"zh"},{"@value":"분야","@language":"ko"}],"value":[{"@value":"染織","@language":"ja"},{"@value":"Textiles","@language":"en"},{"@value":"染织","@language":"zh"},{"@value":"염직","@language":"ko"}]},{"label":[{"@value":"名称よみ","@language":"ja"}],"value":[{"@value":"こそで そめわけりんずじわかまつこばなしかもみじもよう","@language":"ja"}]},{"label":[{"@value":"指定名称","@language":"ja"}],"value":[{"@value":"黒綸子地若松紅葉鹿小花文様絞繡小袖[一領]","@language":"ja"}]},{"label":[{"@value":"員数","@language":"ja"}],"value":[{"@value":"1領","@language":"ja"}]},{"label":[{"@value":"Media","@language":"en"}],"value":[{"@value":"Satin-weave silk","@language":"en"}]},{"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":"江戸時代・17世紀","@language":"ja"},{"@value":"Edo period, 17th century","@language":"en"},{"@value":"17世纪","@language":"zh"},{"@value":"17세기","@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":"I-2775","@language":"ja"},{"@value":"I-2775","@language":"en"},{"@value":"I-2775","@language":"zh"},{"@value":"I-2775","@language":"ko"}]}],"description":[{"@value":" 小袖全体が大胆に楔形に染め分けられ、新春をあらわす若松模様、春を表わす小花模様、秋を表わす鹿に紅葉の模様、鹿の子絞りと、4種の模様で構成されている。浅葱色と黒に染められたいっそう細かい鹿の子絞りは「芥子鹿の子」と呼ばれた。刺繡は平繡を主として、撚金糸による駒留が随所に施され輝きを加味している。刺繡で彩られた「鹿に紅葉」の模様からは「おくやまに もみじふみわけ なくしかの こえきくときぞ あきはかなしき」を思い浮かべる。\r\n 織田家の家臣、山口盛政夫人が天文年間(1532~55)に着用したと伝わって来た。しかし地を楔形に染め分けるめりはりのある構図や落ち着いた色調、刺繡による細やかな模様と行った特徴は、江戸時代初期の武家女性の衣装に見られる様式的な意匠である。\r\n 中国から舶載された綸子地に、鹿の子絞りや刺繡で表地を埋めるように施したデザインは江戸時代初期に流行した。この時代の主な染織技法は刺繡、摺箔、鹿の子絞りで、これらの技法を単独で、あるいは併用して地を埋めるように模様を表したことから「地無」と称された。地色は紅の下染に黒を染め重ねた「黒紅」が好まれた。この小袖もまた、元和・寛永期頃に流行った地無小袖の1つである。","@language":"ja"},{"@value":" This kosode (kimono with narrow sleeve openings) is dyed with large wedge shapes, and is composed of four stylistic components: young pine trees representing the New Year, small flowers representing spring, a deer and autumn leaves representing autumn, and a kanoko shibori (tie-dyeing) design. The finer kanoko shibori design dyed with pale blue-green and black is called keshi kanoko. The embroidery is mainly flat, and knots with twisted gold threads are applied all over to add a shining effect. The \"deer and autumn leaves\" design decorated with embroidery is reminiscent of the ancient waka poem, \"Autumn at its saddest — / Rustling through the leaves / and moving on alone / deep into the mountains, / I hear a lonely stag belling for his doe.\r\n The wife of Yamaguchi Morimasa, a high-ranking samurai vassal of the Oda Clan, is said to have worn this kimono in the Tenmon era (1532–55). However, distinctive features such as the wedge-shaped composition created by dyeing, the subdued colors, and the fine patterns of embroidery are traits typical of samurai-class women's attire in the early Edo period (1603–1868). \r\n The design, which utilizes rinzu (satin damask) imported from China and is covered with embroidery and kanoko shibori, was popular in the early Edo period. The main dyeing and weaving techniques of this era were embroidery, surihaku (stencil-pasted metallic foil), and kanoko shibori. These techniques were used alone or in combination to create a pattern that would cover the surface. Therefore, it is called jinashi, meaning no open spaces. Dark red was preferred as the base color and made by dyeing black on top of red. This specific type of jinashi kosode robe was popular around the Genna (1615–1624) and Kan’ei (1624–1644) eras.","@language":"en"},{"@value":" 这件小袖(袖口较小的和服)整体染成大胆的楔形图案,再以代表新春的嫩松和小花,代表秋天的鹿与枫叶这四种纹样,配和鹿子绞(扎染工艺的一种,染出纹样呈颗粒状,近似小鹿背上斑点,故名)构成。以浅葱色和黑色染成的更为细小的鹿子绞称为“芥子鹿子”。刺绣以平绣为主,而以撚金丝遍绣于各处的轮廓线,更使本作熠熠生辉。以彩线绣成的“鹿与红叶”令人不禁想起《百人一首》中的“奥山秋意染红林,鸣鹿声声悲不禁。我自驻足空感慨,凭谁安慰寂寥心?”。\r\n 该小袖据说是织田家家臣山口盛正的夫人在天文年间(1532-1555)穿过的。然而从张弛有致的楔形构图、稳重的色调以及纤细的刺绣纹样等特征来看,却反映了江户时代(1615-1868)初期武家女性衣装的常见样式。\r\n 在从中国输入的缎纹提花织物上,填满以鹿子绞或刺绣等工艺表现的图案,此类设计在江户时代初期非常流行。该时代的染织工艺主要有刺绣、贴金贴银和鹿子绞。以一种或数种工艺表现纹样,不留背景地填满织物表面的设计被称为“地无”。染成红色的织物上再染以黑色的“黑红”在当时大受欢迎。因此本作应为元和(1615-1624)至宽永(1624-1644)时期流行的地无小袖之一。","@language":"zh"},{"@value":"고소데(小袖, 소맷부리가 좁은 기모노) 전체를 대담하게 쐐기꼴로 나누어 염색했다. 새해를 나타내는 어린 소나무무늬, 봄을 나타내는 작은 꽃무늬, 가을을 나타내는 사슴과 단풍무늬, 가노코시보리(홀치기염색으로 나타낸 반점무늬) 등 4종류의 무늬로 구성되어 있다. 연두색과 검은색으로 염색한 부분의 자잘한 가노코시보리는 '게시가노코(겨자씨처럼 촘촘한 가노코시보리)'라고 불렸다. 자수는 평수를 주로 사용하였으며, 곳곳에 요리킨시(撚金糸)라 불리는 금박을 감은 실을 다른 실로 고정시키는 자수 기법을 사용해 반짝임을 더했다. 자수로 장식된 사슴과 단풍무늬는 '깊은 산속에서 단풍을 밟고 지나가는 사슴의 울음소리 들릴 때 가을은 적적하고...'라는 시구를 떠오르게 한다. \r\n오다(織田) 가문의 가신 야마구치 모리마사(山口盛政)의 부인이 덴분 연간(1532~1555)에 착용했다고 전해진다. 그러나 옷감을 쐐기꼴로 나누어 염색함으로써 변화를 준 구도와 차분한 색조, 자수로 표현한 섬세한 무늬 등의 특징은 에도시대 초기에 무사 가문의 여성이 입었던 의상에서 볼 수 있는 양식화된 디자인이다.\r\n중국에서 가져온 린즈(綸子, 광택이 특징인 견직물의 일종) 바탕에 가노코시보리와 자수 장식으로 겉감을 가득 채운 디자인은 에도시대 초기에 유행하였다. 이 시대의 주요 염직 기법은 자수, 스리하쿠(금은박 장식), 가노코시보리로, 이러한 기법을 단독으로 혹은 병용하여 바탕 전체를 메우듯이 무늬를 표현한 점에서 '지나시(地無)'라고 불렸다. 바탕색은 붉게 염색한 위에 검은색으로 다시 염색한 '구로베니(검붉은색)'가 선호되었다. 이 고소데 또한 겐나(1615~1624) 및 간에이(1624~1645) 연간 무렵에 유행했던 지나시 고소데 중 하나이다. 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