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「京都画壇系譜図」

 2003年の秋、自民党の総裁選挙と衆議院選挙が行われました。
脱派閥を唱える小泉首相が総裁戦を制し、議員の世襲をも問うた衆議院選挙は与党が絶対安定多数を確保し、民主党が議席数を大幅に伸ばしました。
 そんな中、大阪市立美術館で京都画壇の祖と考えられている「円山応挙展」が開かれました。
写生画を確立し、今日まで続く京都日本画の源流です。
 江戸時代には画家になるために師匠について絵を学びましたが今日では学校、主に大学で勉強し画家になる事がほとんどです。
京都では学校を出たからといってすぐに絵で食べられる事はありません。
もちろん無所属・無派閥で成功される画家もいますが、どこかの団体に所属する、あらためて画塾に入る、父・祖父に師事する、派閥やグループに加わって絵画活動をする事が多いようです。
そして展覧会で入選・入賞を重ね、地位を上げて栄えある日本画家になるのです。
 系譜は応挙から現代までの京都画壇の師弟関係、派閥、結びつきを表しています。
今日まで輩出された日本画家全員を網羅している訳ではありません。
しかしこの図は京都の画家がどこかで皆繋がっている事を示しているのです。
 この画壇は京都の伝統なのです。



THE MARUYAMA-SHIJŌ SCHOOL

In the autumn of 2003, elections were held for the Liberal Democratic Party presidential election and the Lower House. Koizumi Jun’ichirō, who promised to end faction-based politics, was re-elected as the LDP president, and his ruling LDP coalition that questioned hereditary politics barely squeaked out an absolute majority in the Lower House election. Meanwhile, the rival Democratic Party of Japan dramatically increased its number of seats.

Amidst this political turmoil, an exhibition of works by Maruyama Ōkyo (1733-1795) was held at the Osaka City Museum of Fine Arts. Active in late 18th century Kyoto, Maruyama Ōkyo was regarded as the founder of Kyoto painting coteries—which grew to be numerous—and he developed his own, realistic style. The Maruyama-Shijō school is considered to be the roots of the Kyoto Japanese art world that has blossomed to the present day.

In the Edo period, aspiring painters learned under acknowledged masters. These days it is generally the case that anyone wishing to become a painter enrolls in an art school or university to learn the principles of drawing and painting, and the various techniques associated with those media.

Graduates from the art institutes cannot expect to make a living right away by painting. Some independent painters may achieve recognition, but most painters usually continue by: (1) belonging to an organization, a painting school or group; (2) re-enrolling at a private art school; (3) studying under the tutelage of one’s father or grandfather, if they happen to be acclaimed painters. It is for those few artists who have been selected many times and have won awards at exhibitions in the course of their careers that can actually hope to achieve great success as Japanese-style painters.

The genealogy of the Maruyama-Shijō school (the data was created by Adobe Illustrator) shows the master-disciple relationships and connections to art schools and groups. This genealogy by no means covers all Japanese-style painters. Nevertheless, it demonstrates that—by one route or another—all painters in Kyoto are inter-related. The long and venerable traditions of Kyoto’s painting schools are woven into this net.

                                      Translation by Eiko Aoki