小杉放菴展（八王子夢美術館） KOSUGI Hoan (Yume Art Museum)

 

小杉放庵のことは、前から興味があった。

放庵は、洋画を学び、フランスに留学までしたが、池大雅の『十便図』を見たことがきっかけで、日本画にものめり込んでいった。

横山大観、下村観山、今村紫紅と東海道を旅して描いた『東海道五十三次絵巻』は、東京国立博物館でよく目にする、お気に入りの作品だ。

しかしその他の作品は、近代日本画の展覧会で何点かづつ目にしたことがあったが、まとまって作品を見たことはなかった。

放庵の日本画は、狩野派や琳派などの伝統的なものでもなく、横山大観、下村観山などの同世代の作品とも違った趣で、ヨーロッパの童話のような雰囲気を持った、国籍を感じさせない不思議な雰囲気を持っている。

他にも、シャバンヌの影響を受けたことが伺える、東大の安田講堂の壁画の下絵や、独特の世界観に溢れた水墨画など、この美術館の名前のような、”夢”の時間を味わうことができた。

I have been interested in Kosugi Hoan for a long time.

Hoan studied Western painting and even went to France to study abroad, but after seeing Ike Taiga's "Jubehenzu," he became fascinated with Japanese painting.

My favorite work, "The Fifty-Three Stations of the Tokaido," which he painted while traveling along the Tokaido with Yokoyama Taikan, Shimomura Kanzan, and Imamura Shiko, is one that I often see at the Tokyo National Museum.

However, although I have seen a few of his other works at exhibitions of modern Japanese painting, I have never seen them all together.

Hoan's Japanese paintings are not traditional, such as the Kano school or Rinpa school, and have a different feel from the works of his contemporaries such as Yokoyama Taikan and Shimomura Kanzan. They have a mysterious atmosphere like a European fairy tale, like a nationalityless fairy tale.

I was able to experience a "dreamlike" time, as the name of this museum suggests, with the sketches for the murals of the Yasuda Auditorium at the University of Tokyo, which show the influence of Chavannes, and ink paintings filled with a unique worldview.