泉屋博古館東京で行われた、この美術館が所有する文人画のコレクション展。
以前、京都で行われた展覧会の巡回展かと思いきや、一部の作品は同じだったが、内容が大きく変わっていた。
京都展では、関西における文人の交流がテーマだったが、東京ではそのテーマが相応しくないと感じられたのだろうか、隠遁生活がテーマになっていた。
陶淵明の桃源郷、竹林七賢図、西行芭蕉などをテーマにした作品は、なるほど隠遁生活という展覧会には相応しい。
石濤や石蹊などの揚州八怪の作品は、やはり見応えがあった。
富岡鉄斎が晩年に描いたという、掃蕩俗塵図前に立つと、俗に塗れた己の姿が痛いほど身に染みてくる。
中国の文人たちが憧れた太湖石や、文房四宝まつわる展示も見応えがあった。
An exhibition held at Izumiya Hakukokan Tokyo, a collection of literati paintings owned by the museum.
I thought it was a traveling exhibition of a previous exhibition held in Kyoto, but some of the works were the same, but the content had changed significantly.
At the Kyoto exhibition, the theme was exchanges between literary figures in the Kansai region, but perhaps because it was felt that this theme was not appropriate for Tokyo, the theme was a reclusive life.
Works with themes such as Sue Yuanmei's Togenkyo, The Seven Sages of the Bamboo Grove, and Saigyo Basho are certainly appropriate for an exhibition called The Reclusive Life.
The works of the Eight Monsters of Yangzhou, such as Shi Tao and Shi Qi, were certainly worth seeing.
When I stand in front of Tomioka Tessai's picture of sweeping up vulgarity, which he painted in his later years, the image of myself painted with vulgarity becomes painfully familiar to me.
The exhibits about Taihu stone, which was admired by Chinese literary figures, and the Four Treasures of Bunbo were also worth seeing.
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