Azuchi Momoyama culture, art of samurai, Tokyo National Museum

Momoyama Culture (Momoyama Campaign) or Azuchi Momoyama Culture (Azushi Momoyama Bunka) is a Japanese culture of the Azuchi-Momoyama era when the unification project was underway by Nobunaga Oda and Toyotomi Hideyoshi. In this era, a splendid and brilliant culture flourished in the background of the end of the world of war and the momentum of reunification of the universe, the emergence of emerging daimyo · rice merchant, and overseas negotiations.

Momoyama culture is a contemporary culture with little Buddhism color, reflecting emerging samurai forces, the trading style of merchants and the economic power of merchants. In the Azuchi-Momoyama period, in urban areas, emerging merchants such as Sakai’s Mukuhisa Imai and Hakata’s Shimai Muneaki grew up. There are luxurious and massive cultural trends against the wealth. In addition, according to Nobunaga’s policy, the power of Buddhist power has weakened in the center, Buddhist work is decreasing, and human centered, a world-style style is seen instead.

A painting
During the Momoyama period, a castle wall and a wall inside the temple, a sliding screen, a folding screen or a ceiling, a luxurious barrier painting by the technique of a sketch (a die) that colors with blue and green male lines on the gilt ground Drawing picture) was drawn. Dense painting refers to coloring painting in general, and it is a word for ink painting. The gold leaf is pushed all over in the painting, and the one that is dense with “Aoi”, that is blue color, is called “Kim Jong-il”, and it originates in the Muromachi Period. There are two types of barrier paintings: Dense painting (Kim Seung-hee) and ink painting, but in general the Aoi barrier paintings are decorated in the public space such as the schedule room and the guest room in the interior of the building, and the decoration of the private space The ink painting was loved.

In the vibrant era of unification of the universe, in particular, gold was preferred, and strong painting was requested with dense color. The castle was a symbol of a new authority, but authority must also be shown inside of it, and the golden glow has become a very effective means to make such effect. And the intention to gold was not only because its luxury satisfied the aesthetic sense of the people of Amagi and Daisuke, but also because it brought considerable lighting effect at the time the seatlights were not able to obtain sufficient lights. There, favorite Japanese-style subjects such as Flower bird fly moon, and Han image (Song original painting) style such as Karate lion and Tortoza style. The gold clouds and gold leaves partitioned the landscape in the large screen and tried to obtain the truly sought power by drawing the object to be the subject at the full size.

Paintings from the Azuchi-Momoyama period to the Edo era are mainly composed of Kano school including Eikyu and exploration, the Rinpa of Souton, Karin and Hishima, Nanjing school factions such as Oya and Buson, Nakayama The factions of Shijo and Shijo, artists such as Jakuchu, Ashiya and Xiao Haki were produced and presented a phase of hundred flowers. In the book, the three writing brackets (Shinnun, Koetsu, Akira) in the Edo period set up a new style of literature, the Chinese Book Law brought by the three authors of Huangyang became popular as a book of Tang Dynasty since the middle of the Edo period . Here, we will exhibit paintings and traces of various developments from the Azuchi Momoyama period to the Edo era. This time, paintings will be displayed by priests and Confucian writers, centering on masterpieces and figures of vivid portraits painted by Mt. Yuzan and Tsubakiyama.

Compared to paintings, reeds, Noh, Kyogen, etc., calligraphy after Jinwa’s new administration was generally quite saddened. The name of a pseudonym (Kana) written during the Heian period from the Kamakura period is called “an old writer”.

Meanwhile, in Muromachi era, Zen and its influenced paintings (ink paintings and Zenlin ink paintings) were deeply connected with the tea ceremony through activities such as Daitokuji’s Mt. Ishiyasumi and the above-mentioned Prince Takuma Kimono etc. In the Muromachi period I became to be respected as a tea ceremony. Either way, the decoration has become luxurious like the Song original. When entering the Momoyama period, along with popularization of tea ceremony, Munehisa Mune and Japanese sanitarian marks or samurai of Kamuan Han Jie mentioned above were prized. Its contents are diverse, including letter of appreciation, fictional languages, legal languages, letters, words and answers, old poems.

In the Azuchi-Momoyama period, the kilns of Bizen, Shigaraki, Tamba and Iga, which had developed as the center of unglazed pottery-tightening ceramics, centered on the Seto kiln and Mino kiln, which were the production areas of glazed pottery, a little late Karatsu So, a pottery representative of this era was created.

This is because traditional tea ceremony tea was preferred by tea ceremonial tea ceremonial tea bowls and celadon bowls, so-called “tea ceremony”, where the tea ceremony is not just religious fun, but with Zen When tea ceremony became aiming for human formation, tea ceremony was also considered to be good with something with a sober and incomplete “beauty of coarse appearance”.

tea ceremony
The tea ceremony became popular, while the specialty tea utensils of Tango were prized, Wabi tea as a rebellion against it also developed. Tea ceremony was made a reward from the Daimyo to the vassal, and the tea ceremony affected politics such as connecting the warlords and the merchant.

Works with strong decorative properties are also made in furniture and dressing products that have been lacquered. Makie (Takaderaji Makie) which the Kodaiji temple built by Hideyoshi Honchoya’s Hosei Temple (Kodai) is a group of maki-e paintings representative of the Momoyama period, among which the “Bamboo Akusaki Maki Bunko” is a makie art It is prominent as. Lyrical expressions in autumn grass expressions, the extent of screen composition, depiction of sophisticated motifs, plain lines representing strength and suppleness, Makie Kodaiji has various features that lead to contemporary paintings, together with innovation It has strong picture quality.

In Kodaiji Temple, you can also scatter flower rafts and musical instruments in black lacquer for the inner court who worships Hideyoshi and Mrs., Sutaya, pillar and its surroundings, decorative fixtures for buildings, or even for cupboards etc, Maki-e making expressions of symbols is given and it is spectacular.

Dye textile
Tsuji which has autumn leaves, diagonal lattice sentences etc. on white background is wearing flower dye sleeve
Fiber products that occupy most of clothing may be woven into fabrics after dyeing yarns, or may be dyed fabrics after weaving undyed yarns, but usually the former is weaved (textile), the latter Is called a dyed work (dye). Note that the former is sometimes referred to as “dyed dye” and the latter is referred to as “dyed after dyeing”.

In Sakai, which was influenced by Ming Miyoshi, the production of fabrics such as Nishiki, Karasuri, Kinboku, Gauza, Koko, Kimono, Kagi, Crepe, Crepe, etc. was touched, but Hideyoshi protected Nishijimi in Kyoto As a result, Nishijin achieved great development after this. Nishijin’s Kinoko · Saiko and Namba Nagori’s velvet · senju etc. are prized besides this, the velvet mantle said to have been worn by the warrior Uesugi Kenshin is present (currently stored in the Uesugi Museum of Yonezawa, Yamagata Prefecture There.

From Azuchi-Momoyama to the Edo period, various kinds of furniture that have adorned people’s personal belongings will be exhibited. In accordance with the season, we will be reminded of the lives of the people of the past through the design of plums, camellia and cherry blossoms from early spring to spring.

Tokyo National Museum

The Tokyo National Museum collects and keeps cultural assets spanning the Toyo region widely, mainly in Japan as a comprehensive museum in Japan, for public viewing and conducting research related to this and educational dissemination project etc. , Aims to preserve and utilize cultural properties that are valuable national assets.

From April 1, 2007, the National Museum belonging to the National Museum of Japan and the National Institute for Cultural Properties to which Japan National Institute of Advanced Industrial Science and Technology belongs were integrated, and the “National Institute of Cultural Properties” was launched. We will promote the preservation and utilization of cultural properties, which are precious national assets under the new corporation, more efficiently and effectively.