25/08/2026
尾形光琳筆と伝わる二点の《三十六歌仙図屏風》。「伊亮印屏風」と「方祝印屏風」は、佐竹家を起点に、益田鈍翁、團琢磨、團伊能、そして八重洲画廊の真部俊生へと、長く二点一組のように伝来してきました。
「伊亮印屏風」は長く光琳真筆として評価されてきましたが、1982年、光琳研究の第一人者・山根有三がその画風に疑問を提示。一方、同年に秘匿されていた「方祝印屏風」を実見した山根は、「未認定の三十六歌仙図の方が筆勢彩色により魅力をもつ」と記しています。
さらに印章や画調、光琳晩年の画風との整合性を検討すると、「方祝印屏風」は従来の「伊亮印屏風」が抱えていた問題を再考する重要な手掛かりとなります。
新たに世に現れた一作が、長年の定説に別の光を当てる――美術史の面白さを感じさせる作品です。
Two versions of the Thirty-Six Immortal Poets Screens have been attributed to Ogata Kōrin: one bearing the “Iryō” seal and the other the “Hōshuku” seal. For many years, the two works were transmitted almost as a pair, passing from the Satake family to Masuda Donnō, Dan Takuma, Dan Inō, and eventually to Toshio Manabe of the Yaesu Gallery.
The “Iryō-seal Screens” had long been accepted as an authentic work by Kōrin. However, in 1982, Kōrin scholar Yūzō Yamane raised doubts about aspects of its style. In that same year, after examining the previously little-known “Hōshuku-seal Screens,” Yamane wrote that the unrecognized version possessed greater appeal in the vigor of its brushwork and coloring.
When the seals, overall style, and their relationship to Kōrin’s mature period are reconsidered, the “Hōshuku-seal Screens” emerge as an important key to reexamining the questions surrounding the better-known “Iryō-seal Screens.”
A newly surfaced work casting fresh light on a long-established interpretation—this is one of the great fascinations of art history.
古裂会オークション
方祝印 三十六歌仙屏風 本間二曲一隻
Thirty-Six Immortal Poets, with the “Hōshuku” Seal, Two-Panel Folding Screen #メナード美術館 #三十六歌仙 #尾形光琳
