あなたの知らない京都旅～1200年の物語～ 2025年1月9日 江戸の北斎･写楽,京の若冲･応挙～18世紀京都の天才たち～
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TVTranscript
00:00This is Kyoto Travel, a journey you don't know about.
00:04This year, we will bring you a lot of the charm of Kyoto.
00:11In 2025, the first traveler will be this person.
00:17Now, everyone.
00:19If there is something that will definitely be a hot topic this year,
00:23it's this, isn't it?
00:27Sharaku, Utamaro, Hokusai.
00:30What this year's Taiga drama depicts is the world of Ukiyo-e,
00:35which has become a big boom in Edo from the middle to the late Edo period.
00:42The popular Ukiyo-es were produced by Hanmoto, Tsutaya, and Juzaburo.
00:49When Sharaku and Hokusai were a hot topic in Edo,
00:53what was going on in western Kyoto?
01:00At the same time as Sharaku and Hokusai,
01:03Ito Jakuchu and Maruyama Okyo were active in Kyoto.
01:10This time, we will approach the secret of the genius painters of Kyoto.
01:19Unexpected human relations that emerge from the place where they lived.
01:26There is definitely a chemical reaction.
01:29Everyone stimulates each other.
01:32What is the strong connection between the Gion Festival and the painters?
01:40There was a decisive difference between the painters of Kyoto and the Ukiyo-es of Edo, which were active at the same time.
01:50You can feel the greatness of Jakuchu and Okyo.
01:56Edo's Hokusai and Sharaku.
01:59Kyoto's Jakuchu and Okyo.
02:02Kyoto's Jakuchu and Okyo.
02:09A journey to Kyoto that you don't know.
02:12A story of 1,200 years.
02:18Hello, I'm Nakamura.
02:20I'm Sawada.
02:21Nice to meet you.
02:23Nice to meet you, too.
02:25I've been looking forward to today.
02:27I'm glad.
02:29The guide is a novelist who was born and raised in Kyoto, Mr. Touko Sawada.
02:36He has won numerous literary awards, including the Naoki Prize at the Hoshio Chite Nao.
02:42He has also written a novel with the theme of Ito Jakuchu.
02:48Mr. Masatoshi, are there any painters of the late Edo period who come to your mind?
02:55I don't think there are many.
02:58There are only two.
03:01For example, the famous Ito Jakuchu and Maruyama Okyo.
03:08That's about it.
03:10That's enough for today.
03:13Is that enough?
03:14Yes.
03:15First, I'd like to see a work by a painter who represents the Edo period.
03:22Let's go to a place where we can see various and unique works of painters who were active in Kyoto during the Edo period.
03:31This is Fukuda Art Museum.
03:34Is it here?
03:35Yes.
03:36I'm looking forward to it.
03:38Let's go in.
03:46Hello.
03:47Nice to meet you.
03:48Nice to meet you.
03:52We visited Fukuda Art Museum in Arashiyama, on the outskirts of Katsuragawa.
04:01There are about 2,000 works of Japanese painting in the museum.
04:09First, let's see a work by Ito Jakuchu.
04:12He was active in Kyoto from the mid-Edo period to the late period.
04:18Here it is.
04:19There are many works of Jakuchu.
04:21Yes.
04:22There are many works of Jakuchu.
04:25This time, I'd like you to look at the work in front of you.
04:40I've never seen such a real thing.
04:43Is that so?
04:46It's quite detailed, isn't it?
04:50Yes, it is.
04:53This is a picture of a turnip.
05:00The turnip and the pears in the turnip field are drawn precisely and vividly.
05:08This is a work of the early period, when Jakuchu was drawn in his thirties.
05:16As I said earlier, it is very vividly drawn.
05:21From the head to the neck, there is a pattern of white, white, black, white, black.
05:29There is a pattern of white, white, black, white, black until it reaches the root.
05:35The pattern is getting bigger little by little.
05:41Also, the expression of withered leaves.
05:44Jakuchu drew the same leaves as in his later works.
05:49This is a work of Jakuchu's early period,
05:53but I think it is a picture full of various elements of Jakuchu.
06:00He drew not only the wings of the chicken,
06:04but also the withered leaves in a detailed rock painting.
06:13It is a work that often shows the characteristics of Jakuchu, who pursued reality.
06:20What kind of person was Jakuchu?
06:30There are not many documents that show the personality of Jakuchu.
06:35However, if you think about it from the perspective of a picture,
06:40you can see that he was a very detailed person because he drew pictures that were as precise as his voice.
06:43That's right. I think he was very observant.
06:47This is a vegetable wholesale store called Aomono Toya.
06:52Is it a vegetable wholesale store?
06:57Next is a work of the famous painter Maruyama Okyo.
07:04This is the work.
07:06Is this it?
07:08But it's quite real and the use of color is also amazing.
07:13In the era when there were no pictures,
07:18he drew as if he were really there.
07:23The part of the head, the part under the eyes, and the part of the wings are also decorated with gold to make it look gorgeous.
07:33I see.
07:37This is a work by Okyo when he was 41 years old.
07:41On the background of the button is a picture of a crane standing on a rock.
07:53Okyo was a painter who drew the things in front of him precisely and was particular about the posture.
07:59He was active in Kyoto at the same time as Jakuchu and pursued realistic painting.
08:07However, there is a difference in their works.
08:14For example, when Jakuchu draws a button,
08:17he definitely draws a scene where the leaves are torn or withered.
08:22Okyo does not draw such a scene.
08:25He draws very beautiful things beautifully.
08:28That is a picture that does not break Okyo.
08:32I see.
08:34Okyo's paintings are beautiful no matter where they are displayed.
08:38I see.
08:42Okyo's feature is that he draws beautiful things more beautifully
08:47and draws the object in his mind closer to the ideal form.
08:58Here is another work that shows this.
09:02This is cute.
09:03This is cute.
09:04It is fluffy.
09:07In fact, tigers did not live in Japan.
09:12So, Okyo imitated a picture from the Korean Peninsula in China.
09:17And one more thing.
09:19This picture is referring to a cat.
09:23Because it is the same family.
09:25That's right.
09:26If you look at the black eye, it is broken vertically.
09:30It looks like a cat.
09:32However, the black eye of a real tiger is round.
09:37So, you can see that Okyo drew a picture looking at a cat.
09:43There is a cat in the picture.
09:45That's right.
09:46Fukujo Art Museum is a good place to take pictures.
09:51You should not say that.
09:54There are some works that you are not allowed to take pictures of.
09:58However, you can take pictures of all the works from the Edo period.
10:02Is that so?
10:03Yes, you can.
10:04Can I?
10:05Yes, please.
10:08This mask is big.
10:12Let me see the side.
10:14This is quite realistic.
10:18I will show you my work at the end of the program.
10:23Please look forward to it.
10:27Yosa Busson, also known as a painter, was active in Kyoto at the same time.
10:33He is a person who established painting by drawing a picture that matches the background.
10:39This is a picture of a haiku that Busson read when he visited Arashiyama.
10:48This is a picture of flowers of Ikada City, Mino and Arashi.
10:54This is a picture of a haiku and a picture of the moment when cherry blossoms fell on Mino,
10:59who was lost in Ikada.
11:01This is a picture of a picture of a picture of the moment when cherry blossoms fell on Mino,
11:06who was lost in Ikada.
11:14This is a picture of a picture of a pond, which was also active in Kyoto at the same time.
11:21This is a picture of a picture of a gardener, who has roots in Chinese watercolor painting.
11:26It is said that he drew a picture while traveling all over Japan.
11:31This is a picture of a picture of a gardener, who has roots in Chinese watercolor painting.
11:36When I think about it, I feel that there were a lot of painters in the same place in the later period of the Edo period.
11:42When I think about it, I feel that there were a lot of painters in the same place in the later period of the Edo period.
11:48In the capital of Kyoto in the 18th century,
11:53almost the same generation of painters had a rich talent.
11:59In the capital of Kyoto in the 18th century,
12:04almost the same generation of painters had a rich talent.
12:09In the capital of Kyoto in the 18th century,
12:14the painters who were active at that time were
12:19Toshusai Sharaku, Katsushika Hokusai, Kitagawa Utamaro.
12:24The so-called Ukiyo-e, which depicted the faces of Kabuki actors and the scenery of Mt. Fuji, was popular.
12:29The so-called Ukiyo-e, which depicted the faces of Kabuki actors and the scenery of Mt. Fuji, was popular.
12:34It looks like a painting, doesn't it?
12:39That's right.
12:44Ukiyo-e was popular with the general public
12:49because it depicted the faces of Kabuki actors and the scenery of Mt. Fuji.
12:54The so-called Tsutaya Juzaburo was a great producer
12:59who printed various works based on those half-paintings.
13:04The painters of the Edo period in the period he lived
13:09had a great relationship with Tsutaya.
13:14There was no such producer in the Edo period.
13:19I see. The work itself is one-of-a-kind, isn't it?
13:24That's right. It's completely different from the Edo style of selling a lot.
13:29The painters of the Edo period mainly sent half-paintings to the world
13:34under the producer Tsutaya Juzaburo.
13:39On the other hand, the painters of the Edo period
13:44worked independently and freely.
13:49That's why various styles of painting were born.
13:54Ms. Sawada says that the background of the Edo period is related to it.
13:59In the Edo period,
14:04when the Tokugawa period began,
14:09the culture of the Edo period was very weak.
14:14However, the Edo period was a little far from the power of the Edo period.
14:19It was an environment where the painters of Kyoto could work freely.
14:24I see.
14:29Ms. Sawada goes to a place where she can see the special relationship
14:34between the painters of Kyoto who lived in the Edo period.
14:39She visits Nishiki Ichiba Shoten-gai,
14:44which is popular among tourists.
14:49It is a shoten-gai with a history of 400 years,
14:54and this is the center of the shoten-gai.
14:59I see.
15:01Does Ms. Sawada come here often?
15:04Yes, she does.
15:07When there is a shop she wants to go to, she goes there and comes back.
15:16Ms. Sawada has a shop she is familiar with.
15:20Before looking for the relationship between the painters, she stops by.
15:25I would like to visit this shop.
15:29Is it here?
15:30Yes.
15:31It says Yuba here.
15:32Yes, this is a Yuba shop.
15:34Oh, I see.
15:38May I come in?
15:40Yes, please.
15:44What kind of shop is this?
15:47I know it's a Yuba shop.
15:49When I was a baby, I was a babysitter here.
15:54That's a long way to go.
15:56It's been 40 years.
16:01The shop she visits is a Yuba shop with a history of more than 200 years.
16:06It's called Yuba-kichi.
16:09Ms. Sawada's mother is Ms. Fujiko Sawada, a painter.
16:13Ms. Fujiko saw Ms. Sawada taking care of her busy mother.
16:21She must be proud of her mother.
16:23Yes, she must be.
16:25I didn't expect her to be so good to me.
16:28When I was a baby, she was very easy to handle.
16:32She was a busy woman.
16:34She is talking about a lot of things from half a century ago.
16:37This is freshly made.
16:40Freshly made?
16:42It's steaming.
16:44It's freshly made.
16:46Let's eat.
16:52It's tender and delicious.
16:54It's made with only soybeans.
17:00What I'm curious about is how Ms. Sawada grew up.
17:08She wasn't a violent girl.
17:13She was a good girl.
17:15We often went for a walk together.
17:21At first, she even pushed me.
17:26I can't imagine that.
17:28That's right.
17:30At that time, did you like her?
17:35Yes, I did.
17:37I think I liked her.
17:41Do you feel influenced by your parents?
17:48It's true that I was a novelist in my career.
17:52I see.
17:53I don't know much about it.
17:56Let's talk about Jack-Q.
18:03Thank you very much.
18:07I feel strange when I say hello to them.
18:11It's like saying goodbye.
18:13I feel like I'm meeting them again.
18:17Actually, there is a place that is deeply related to Jack-Q
18:21at the west end of Nishikiichiba shopping street.
18:25This is the destination.
18:28At the corner of this street, there is a shop called Aomono-donya.
18:33I see.
18:38Jack-Q was born in 1716, half way through the Edo period.
18:43He was the eldest son of Aomono-donya,
18:46who sold vegetables at Nishikiichiba.
18:50Aomono-donya
18:54The house was located near the entrance of the west side of the shopping street.
18:59It is said that it was a very big house.
19:03It was born in a bustling place.
19:06Yes, it was.
19:07It was the fourth generation of Jack-Q.
19:12Jack-Q went on the road of painting,
19:15so his younger brother followed him.
19:17It is said that there was a shop until the end of the Edo period.
19:20Is that so?
19:22There is a unique work of Jack-Q,
19:24which was born and raised in Aomono-donya.
19:30This is a work of Jack-Q's second year,
19:32which was discovered in Europe last year and became a hot topic.
19:36It is a virtual painting.
19:39It is a work of Jack-Q,
19:42which was painted vividly over 1,000 meters.
19:56The leaves, which look like they have withered,
19:59and the fruits, which have withered,
20:01give a sense of reality to Jack-Q.
20:12Now, we are at the Nishiki market,
20:15where Jack-Q's work is being sold.
20:17I would like to show you another place,
20:19so let's go.
20:21What is there?
20:22It is a secret.
20:23Is it a secret?
20:24I see.
20:25You will be surprised.
20:28What is there?
20:30It takes only three minutes to walk.
20:33We have arrived at our destination.
20:36We are in front of it.
20:38Is it near here?
20:40What?
20:42Oh?
20:44I just remembered.
20:46What is this?
20:48Maruyama O-Kyo Taku.
20:52Isn't it here?
20:54Yes.
20:55It was your neighborhood, wasn't it?
20:57It is very close to my neighborhood.
20:59Yes.
21:01We were guided to a place where Maruyama O-Kyo lived.
21:07From Jack-Q's work,
21:09it is only about 200 meters away.
21:15You can see that Jack-Q and O-Kyo are neighbors.
21:18If you go a little further to the west,
21:20Ryosaku-san also lived there.
21:22Busson also?
21:23Yes.
21:24You can see it from here.
21:26Really?
21:27Yes.
21:28We went to Jack-Q's house.
21:30It is a little far.
21:31It is here now.
21:32If you go a little further to the west,
21:34you can see Busson.
21:35It is about 10 minutes from here.
21:38It is quite close.
21:39Yes.
21:40It is close to these three.
21:41On the contrary, if you go to the east,
21:43Tiger also lived there.
21:45It is true.
21:46It is right in the middle of the market street.
21:48So, Jack-Q, O-Kyo, Busson and Tiger
21:52are all familiar faces.
21:55I think so.
21:56There must have been a lot of common acquaintances.
22:00Jack-Q, O-Kyo, Busson and Tiger
22:04lived in a place where everyone could walk in the same era.
22:09I see.
22:10Why is their address so clear?
22:15Why is their house so specific?
22:19Please wait a minute.
22:21What?
22:22I'm sorry, but why?
22:24Why?
22:25Actually, at that time,
22:27there was a list of addresses of famous people in Kyoto.
22:31No way!
22:32In a book called Heian Jinbutsu-shi,
22:35there were names of famous painters and famous doctors.
22:43Please wait a minute.
22:44It is like an entertainment show in the 1970s.
22:48Is that so?
22:49There were even their addresses and phone numbers.
22:52I didn't know that.
22:55Heian Jinbutsu-shi
22:56lists the names and addresses of famous people in Kyoto
23:00who were active in the middle and late Edo period,
23:03such as scholars, doctors, and writers.
23:11It is a proof that they are recognized as first-class cultured people.
23:18This is a book called Heian Jinbutsu-shi.
23:22Here it is.
23:24The first one is Mr. Tō Ōkyo.
23:28His name is written here.
23:29His address is Chijo-Fuya-chō-machi-nishi-e-jiru.
23:34It's hard to find his personal information now.
23:39Yes, it is.
23:40Next,
23:41the address is written here.
23:42This is Jyakuchū.
23:44Takakura, Nishiki, Kōji, Agarō.
23:47That's the address.
23:48Yes.
23:51Next to Ōkyo and Jyakuchū,
23:54there is a painting of a pond called Yosa Busson.
23:58It is listed in Heian Jinbutsu-shi,
24:01so we can see that they represented Kyoto.
24:07As you can see,
24:10all the painters in Kyoto lived in this market area.
24:14But they were all born and raised in different areas.
24:17Are they all not from Kyoto?
24:19No, they are not.
24:20Jyakuchū is from Rakuchū.
24:23Taira is from the northern part of Kyoto.
24:26Ōkyo is from the northern part of Kameoka.
24:30They are a bit far from each other.
24:33Busson is from Osaka.
24:36They all came to Kyoto following their own experiences.
24:40It was a miracle that they were all from the same area.
24:44That's the miracle.
24:46Even though they were from the same area,
24:48they were all in the same place,
24:50I mean, they were all close to each other.
24:53There must have been some kind of chemical reaction.
24:57They were all stimulated by each other.
25:02So, what about the painters in Edo?
25:05How were the painters in Edo?
25:08First of all, Edo is much bigger than Kyoto.
25:12I see.
25:13For example, Sharaku lived in Hachiobori area.
25:17It's in the center of Tokyo now.
25:19Hokusai moved to Tokyo very quickly.
25:23He didn't want to live in Tokyo.
25:25He had to stay in Tokyo.
25:28He lived in Bunkyoku or Taitoku area.
25:34They were close to each other.
25:36No, they weren't.
25:39I think Kyoto was more close to each other.
25:45I think so, too.
25:47Mr. Sawada thinks that there was a unique environment
25:51where great painters grew up in Kyoto.
25:57In my opinion, Kyoto is a city.
26:00Each person has a different level of knowledge.
26:03Some people have been living in Kyoto for a long time,
26:06and some people have been living in Kyoto for generations.
26:09The level of knowledge is getting higher and higher.
26:13I always think of Kyoto as a city for children.
26:17When I look at the four painters,
26:19I can see the difference in their level of knowledge.
26:23I think that's how they got involved with painting.
26:30Today, we can see that these painters
26:33were deeply involved with the people of the city.
26:40We visited a place about 15 minutes walk from the market area
26:45where the painters lived.
26:49What are we waiting for?
26:53This might be a surprising place.
27:00Excuse me.
27:02Hello.
27:04May I come in?
27:06Yes, please.
27:11This is one of the mountains in the Gion Festival.
27:15It's a place to preserve the Houshou Mountain.
27:19There are more than 30 mountains in the Gion Festival.
27:23Is this one of them?
27:25Yes, it is.
27:27This is one of the 34 mountains in the festival.
27:31It's the Houshou Mountain.
27:33What does it have to do with painting?
27:37For us who preserve the Houshou Mountain,
27:40there is something very important and irreplaceable in this place.
27:45We would like you to take a look at this.
27:50What is it that is deeply related to the painters of the city?
27:56Here it is.
27:58We would like you to take a look at this.
28:16The Houshou Mountain
28:21The Houshou Mountain
28:28What is it that is deeply related to the painters of the city?
28:37Here it is.
28:38We would like you to take a look at this.
28:41The Houshou Mountain
28:44Wait a minute.
28:46The fact that you showed us this painting means that
28:49this is one of the painters of the city, right?
28:54Yes, it is.
28:55Is this one of the painters of the city?
28:57Yes, it is.
28:58Is this one of the painters of the city?
28:59Yes, it is.
29:00This is one of the painters of the city.
29:02The painting is very detailed.
29:08When it comes to details such as the beard,
29:10you can feel that he is showing his true colors.
29:15Okyo has studied the paintings of the Seito style,
29:18so he is very good at painting Chinese style.
29:21I see.
29:23I feel the same way when I am told that this is a painting of China.
29:29These paintings were painted for Yamahoko when Okyo was 40 years old.
29:41Each of the paintings is said to be based on the story of ancient China
29:46and the contents of the painting.
29:50Yamahoko
29:56Houshou Mountain is a historical mountain pass
29:59that has been in circulation since before the reign of the Emperor.
30:07The origin of the name comes from Yasumasa Hirai,
30:11a nobleman who fell in love with Shikibu Izumi.
30:20The decoration of Yamahoko
30:22is based on the dead body of Okyo,
30:26and it is an embroidery made of the front of the head and the left and right of the head.
30:34I can understand that Okyo Maruyama painted this
30:38for the sake of the people of the city.
30:45Yes.
30:46Many people receive jobs from Okyo,
30:50and the treasures of the city are also received as a job.
30:59After the Reign of the Emperor,
31:01after the reconstruction of Gion Matsui,
31:04each Yamahoko asked the best painter
31:08to paint the dead body of each decoration.
31:12At that time, many people from Houshou Mountain
31:16asked Okyo to paint the dead body of the people of the city.
31:21They consulted with him and gave him an order.
31:25It was the best order.
31:27It was the best order.
31:29Are there other people who paint Gion Matsui
31:32other than Okyo Maruyama?
31:34Yes.
31:35For example, Busson also received an order to paint.
31:39There is a painter called Ishida Yuutei,
31:42who is the teacher of Okyo Maruyama.
31:45He also paints the dead body of the people of Yamahoko.
31:50Gion Matsui is an important event for the people of Kyoto.
31:56Yes.
31:57It is closely related to their daily lives.
32:00It is about 15 minutes walk from Houshou Mountain to Okyo Maruyama's house.
32:05He is like a neighbor.
32:07Yes.
32:08People know him well.
32:10I think there was a time when people asked him to paint.
32:17I think so, too.
32:19You can see that Okyo Maruyama and Busson
32:23were involved in their daily lives.
32:26I think this is the relationship between Yamahoko and them.
32:30In the middle and late years,
32:32Ishida Yuutei called himself the Go of the Edo period.
32:35He painted for the people of the town
32:37and made a living by selling rice.
32:43The painters of the capital
32:45were painting for the people of Kyoto.
32:50It was hard to keep the tradition.
32:53But it was wonderful.
32:55I'm glad I found out that Ishida Yuutei was painting for the people of Kyoto.
33:01I'm glad, too.
33:02But that's not all.
33:05What do you mean?
33:06I'd like to go to a place where you can see it well.
33:10What is that place?
33:12It's a temple called Myohoin.
33:15Can I look it up?
33:18Yes, please.
33:20This is Myohoin.
33:23Yes, Myohoin.
33:25We're in Myohoin.
33:27Let's go.
33:31It takes 9 minutes.
33:33It takes 9 minutes to get there.
33:37It takes about 9 minutes by car from Houshou Mountain Preservation Society.
33:42Myohoin is a temple in Tendai Prefecture
33:45with a history of more than 1,000 years.
33:51Here, you can see another side of the painters of Kyoto
33:55who were loved by the people of Kyoto.
34:00This is the painting of Mr. Okyo that you wanted to see.
34:05Maruyama?
34:07Yes.
34:08It's a painting called Hatozu.
34:11Is it a wave?
34:13Yes, it is.
34:15It's also called Menamizu Byobu.
34:19It's a wave of six poles and one layer.
34:24Hatozu is thought to be the work of Mr. Okyo.
34:29It's a wave of biwako drawn in ink.
34:36On the left is a rough and rugged wave,
34:40called Onami.
34:43On the right is a calm and quiet wave, called Menami.
34:54Maruyama is known to be good at drawing.
34:57It's a portrait.
34:59It's a portrait of a wave of six poles.
35:05If you look at the end,
35:07you can see the signature of Mr. Okyo.
35:09It's Rakkan.
35:11It's true.
35:14Is this your first time seeing this?
35:16Yes, it is.
35:17It's my first time seeing it.
35:21It's ink, but I can't believe it.
35:23It's a biwako.
35:25I can see the blue of the water.
35:32On the left is a rough and rugged wave, called Onami.
35:41You can see the various faces of the waves
35:45just by looking at the biwako.
35:47I can see that.
35:56Why is the portrait of Maruyama Okyo
35:58in the Myoho-in Temple?
36:04The Myoho-in Temple is a temple
36:07where high-ranking monks from high-ranking families
36:11work as monks.
36:13It's a high-ranking temple.
36:15Mr. Okyo was a monk
36:17who worked as a monk
36:19in this temple during his lifetime.
36:21He was called Shinnin Hoshin-no.
36:24He learned painting from Mr. Okyo.
36:31Shinnin Hoshin-no,
36:33a monk from a high-ranking family,
36:35was the brother of Emperor Koukaku.
36:39It is said that he loved art very much.
36:45Mr. Okyo was the teacher of Shinnin Hoshin-no.
36:54The portrait of Mr. Okyo,
36:56who was in charge of painting,
36:58is in the Myoho-in Temple,
37:00but there is nothing strange about it.
37:06In addition, there is a record that
37:08Shinnin Hoshin-no asked a painter
37:10other than Mr. Okyo
37:12to paint his portrait.
37:14What is that painter?
37:16It is said that Mr. Okyo painted
37:18the portrait of Shinnin Hoshin-no
37:20in the 7th year of Tenmei,
37:22which is close to the end of Mr. Okyo's life.
37:25There is a record that
37:27Mr. Okyo painted the portrait
37:29of Shinnin Hoshin-no
37:31when Shinnin Hoshin-no
37:33was in the 7th year of Tenmei.
37:35It is said that the relationship
37:37between Mr. Okyo and Shinnin Hoshin-no
37:39is over.
37:41The Myoho-in Temple
37:43also played a patron role
37:45in supporting the painters
37:47of Kyoto.
37:49It was not just a religious facility,
37:51but a place to support the culture.
37:53The painters of the capital
37:55had a close relationship
37:57with the nobles.
37:59Not only the painters,
38:01but also the nobles,
38:03the scholars,
38:05and many other people
38:07were gathered here.
38:09It was a so-called
38:11cultural center of the capital.
38:13Actually,
38:15Mr. Okyo and Mr. Shinnin Hoshin-no
38:17had a close relationship here.
38:19Recently,
38:21I found a painting like this.
38:23The interesting thing about history
38:25is that new discoveries
38:27keep coming out.
38:30What is the discovery of the century
38:32that shows the relationship
38:34between Okyo and Shinnin Hoshin-no?
38:40Sharaku, Hokusai, Edo
38:42Today's Okyo and Shinnin Hoshin-no
38:48What is the discovery of the century
38:50that shows the relationship
38:52between Okyo and Shinnin Hoshin-no?
38:55Recently,
38:57I found a painting like this.
39:01This is Byobue.
39:03The painting on the left is Jyakuchuu.
39:05The painting on the right is
39:07the one painted by Okyo.
39:09It is said to be a joint work of the two.
39:11It was announced in October last year
39:13and became a hot topic.
39:19I found out recently
39:21that they actually
39:23worked together.
39:27Isn't this amazing?
39:29Yes, it is.
39:31The interesting thing about history
39:33is that new discoveries
39:35keep coming out.
39:39The painting of Yamahoko
39:41is essential for the Gion Festival.
39:45The painting is also
39:47disassembled in the school room.
39:49The painting of Kyoto
39:51was loved and supported
39:53by all the people
39:55who live in this city.
39:59Now,
40:01what about Edo?
40:05The paintings of Hokusai
40:07and Sharaku
40:09are for the general public.
40:11The high-ranking people
40:13may have enjoyed it,
40:15but it is not for them.
40:17I see.
40:19It is for the general public.
40:21Yes, it is.
40:23Of course,
40:25there are people
40:27who paint for the high-ranking people,
40:29but it is not as common
40:31as the paintings of Kyoto.
40:33I see.
40:35That is a big difference.
40:39For example,
40:41the painting of Matsuno Roka
40:43in Edo Castle
40:45was painted by Kano-ha,
40:47a master of Okakae.
40:49The painting of Ukiyo-e
40:51was not painted by him.
40:53When I think about it,
40:55I feel the great difference
40:57between the low-ranking people
40:59and the high-ranking people.
41:01Yes, it is.
41:03The high-ranking people
41:05and the high-ranking people
41:07are ordered to paint
41:09the paintings of various people
41:11from the common people
41:13to the high-ranking people.
41:17This is Ichinoma.
41:19In Ichinoma,
41:21the painting of
41:23Yukimatsuzu
41:25by Maruyama Okyo
41:27is painted.
41:31Ichinoma is a private room
41:33of Shinrin Hoshin-no.
41:37In Fusuma,
41:39the snow piled up in pine
41:41is painted only.
41:49It is a masterpiece
41:51that is not open to the public,
41:53but it is planned to be
41:55shown to many people.
42:01And in Ninoma,
42:03you can see the further
42:05work of Okyo.
42:07This is Ninoma.
42:09Here, too,
42:11the painting is painted.
42:13This artist is
42:15Genki.
42:17Genki?
42:19Yes.
42:21From Okyo's point of view,
42:23he is a famous painter
42:25who can be said to be
42:27the best disciple.
42:29In Fusuma,
42:31the painting of Genki
42:33by Okyo's disciple
42:35is painted.
42:37It is a masterpiece.
42:41And in San-no-man,
42:43there is a slight change.
42:45Yes.
42:47This is also
42:49the painting of
42:51Okyo's disciple
42:53Nagasawa Rosetsu.
42:55It is a painting called
42:57Bokubaisu.
42:59Rosetsu is a painter
43:01who was popular
43:03for his
43:05beautiful paintings.
43:11Among the paintings
43:13of the capital,
43:15Okyo Maruyama
43:17raised many disciples.
43:19This is a big achievement.
43:23After he died,
43:25the painting of Maruyama
43:27was made,
43:29and the painting of
43:31Shijo was made.
43:33When Western painting
43:35was introduced,
43:37it matched
43:39the painting of Shijo very well.
43:41So the painting of Shijo
43:43was mixed with
43:45Western painting
43:47and transformed into
43:49modern Japanese painting.
43:51Does it mean that
43:53the painting of Maruyama
43:55is still today?
43:57Yes.
43:59Maruyama Okyo
44:02Shara-ku, Hokusai, Edo
44:04Okyo, the weak and powerful
44:06in Kyoto
44:08Maruyama Okyo
44:10raised many disciples.
44:12What is the genetic
44:14of Okyo?
44:16The painter
44:18Kono Bailei
44:20was influenced
44:22by Maruyama Shijo.
44:24Kono Bailei
44:26was a famous painter
44:28in Kyoto.
44:30In 13th year of Meiji,
44:32he established
44:34the Kyoto Art School
44:36which is the first
44:38art school in Japan.
44:40This school
44:42is still
44:44the Kyoto Art School.
44:46It is a great trend.
44:48Yes, it is.
44:50This year,
44:52the Kyoto Art School
44:54will be established
44:56in 145 years.
44:58Kono Bailei
45:00sent many painters
45:02representing Japan
45:04to the world.
45:06Among them,
45:08there is a painter
45:10who painted
45:12Fusuma of Jiyin
45:14like Maruyama Okyo.
45:16The feelings of painters
45:18in Edo period
45:20are still inherited.
45:22What is the basic difference
45:24between painters
45:26in Edo period
45:28and painters
45:30in Kyoto?
45:32Well,
45:34Edo period
45:36was under the control
45:38of the government.
45:40In Kyoto,
45:42painters had
45:44more freedom
45:46in the classroom.
45:48So,
45:50painters were
45:52mainly painting
45:54in Edo period.
45:56I see.
45:58There were many things
46:00I didn't know.
46:02But I enjoyed
46:04learning a lot.
46:06Did you enjoy it?
46:08Yes, I did.
46:10Here is the best shot
46:12we took on this trip.
46:26Please subscribe to our channel.
46:28See you next time.