@article{oai:rekihaku.repo.nii.ac.jp:00002815,
 author = {武田, 恵理 and TAKEDA, Eri},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Dec},
 note = {application/pdf, 明治以前に関してはなかなか取り上げられることの少ない油絵技法の変遷について、文献と実際の作例からたどった。七、八世紀にはシルクロードを通って伝来した仏教とともに乾性油を使用した描画技法の漆工作品がもたらされた。しかし漆工の一種としてであって絵的には発展していない。
その後、一六から一七世紀に西洋人が渡来し、宗教画の初期洋風画が描かれた。初期洋風画には油彩画や半油性の技術が見られるが、それはセミナリオにおけるイタリア人指導者の美術教育によるところが大きい。セミナリオで学んだ学生らの作品は、国内の美術工芸作品にも影響を与え、確実に定着しつつあった。イエズス会の会章のある《聖ザビエル像》には狩野派の壺印が捺され、一部に半油性の絵具が使用される。狩野内膳に代表される「南蛮屏風」には、膠画でありながらも胡粉による盛り上げや金箔下の赤色下地など、それまでには見られなかった技法が現れる。しかしその後の禁教、鎖国でそれらの技法は下火になる。いっぽう近年発見された日光東照宮陽明門で羽目板下から発見された壁画では、漆地に乾性油で描画されていることが確認された。空白時期と考えられてきた初期洋風画と幕末洋風画をつなぐ時期に建築や工芸などに油絵と漆技法のつながりが見え隠れする。その後幕末の画家は、西洋の実学的観念を国内で再現するため阿蘭陀通詞や本草学者の力を借り身近な知識を取り入れながら試行錯誤し制作した。そのため源内や秋田蘭画は貿易によってもたらされたプルシアンブルーを使用するなど海外との接点が認められる。いっぽう展色剤の処方には唐辛子や樟脳、樒の葉といったオランダに見られない材料が含まれるほか、膠画に油や樹脂を塗って光沢を出すなどの漆工技法との共通性が多くみられる。本稿では、いったん途絶えたかに見える初期洋風画の技法が漆工分野に伝わり、幕末期の洋風画家らのあいだに逆輸入された可能性を報告した。, The transition of the oil painting technique before modern times, which has rarely been discussed, was studied using bibliographical studies and related paintings. Oil paintings on the Urushi (Japanese lacquer) artifacts were made in the 7th and 8th centuries. However, this has not become an established practice in Japan.
Subsequently, when Westerners arrived in around 1600 AD, early Western paintings were executed as Christian paintings. An educational system in Seminario, a place where Italian instructors taught Japanese students, promoted the creation of early Western paintings using half-mixed (i.e., with egg) drying oils as a medium. The students’ paintings, in turn, influenced Japanese craftwork and painting techniques.
The Kano school’s seal and the Jesuit mark are observed in the portrait of St. Xavier, the first Jesuit to have set foot in Japan. It was also observed that it partially used mixed oil medium. Animal glue was the medium used in Early European screen paintings by Kano Naizen. In addition, modeling paint using shell lime (Gofun) and red underpaint beneath the gold leaves were newly introduced techniques. Unfortunately, such techniques did not spread wide enough due to the ban on Catholicism and restrictions on trade with foreign countries (Sakoku). The painting, which was recently found under a wooden panel of the Yomeimon gate in the Nikko-Toshogu shrine, had an Urushi-coated panel overcoated with a drying oil. Western painting techniques, between 1600 AD and the late 19th century, are presumed to be rare in Japan. However, these findings in the Urushi lacquerware and architectural paintings suggest an association between the Urushi lacquer technique and the oil painting technique. The Japanese painters in the late Edo period tried to reproduce the Western technique with the help of interpreters and scholars. The use of Prussian blue by Gennai Hiraga and the painters of the Akita-ranga school indicates a connection to the Western world. However, the recipes for oil media contained additives such as red pepper, camphor, and leaves of Shikimi (Illicium anisatum), that were unfamiliar with the Western techniques. It is also remarkable that the technique of coating oil or resin over glue paintings is common in Urushi lacquerware. This article outlines the possibility that the architectural Urushi technique might connect the oil painting technique from the early to the late Edo period.},
 pages = {39--64},
 title = {[論文] 近世の油彩の技法と材料},
 volume = {230},
 year = {2021},
 yomi = {タケダ, エリ}
}