{"id":44857,"date":"2024-09-02T06:32:30","date_gmt":"2024-09-01T21:32:30","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=44857"},"modified":"2024-09-02T06:32:30","modified_gmt":"2024-09-01T21:32:30","slug":"%e3%80%90%e3%80%8c%e9%9b%b7%e7%a5%9e%e3%80%8d%e8%a1%a8%e7%8f%be%e3%80%81%e9%9b%aa%e8%88%9f%e3%81%a8%e4%bf%b5%e5%b1%8b%e5%ae%97%e9%81%94%e3%81%ae%e7%9b%b8%e9%81%95%e3%81%8b%e3%82%89%e3%80%91","status":"publish","type":"post","link":"https:\/\/kochihen.replan.ne.jp\/?p=44857","title":{"rendered":"\u3010\u300c\u96f7\u795e\u300d\u8868\u73fe\u3001\u96ea\u821f\u3068\u4ff5\u5c4b\u5b97\u9054\u306e\u76f8\u9055\u304b\u3089\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
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\n\"\"<\/a>
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English version\u2b07<\/p>\n

The \u201cGod of Thunder\u201d Expression, from the Differences between Sesshu and Sotatsu Tawaraya
\nSince the Seiryouden lightning incident, wind and thunder gods have been depicted in Japanese society, which coexists with natural disasters. The difference between Sesshu, who learned from Chinese ink painting, and Tawaraya Sotatsu, whose works were popularized by mass society. …<\/p>\n

\u3000This is a comparison of yesterday’s Wind and Thunder Gods, Sotatsu Tawaraya and Sesshu. Tawaraya Sotatsu was a merchant in Kyoto in the early Edo period (1603-1868), and is said to have been the owner of a store dealing in folding fans. After his death, Ogata Korin, the founder of the Rimpa school, was completely fascinated by his work and made almost exact copies of his paintings.
\n\u3000During the Edo period, Korin Ogata’s works were treated as if they were the originals of the Wind and Thunder Gods. One would naturally think that the act of making a near-perfect copy of an original work of art would not be considered at all creative, but rather, it has been handed down to the next generation as a result of respect for the artist.
\n\u3000I wonder if Japanese society does not place much importance on punitive measures against this kind of behavior. It is possible that Korin, who founded the Rimpa school of art, did not dare to deny his artistic activities. Further down the road, Sakai Hoitsu is said to have copied Ogata Korin’s works as well. However, while the two artists were based in Kyoto, Hoitsu Sakai was based in Edo (present-day Tokyo), so it is believed that he used a copy as a model for his work. In the opinion of later generations, Tawaraya Sotatsu was the \u201coriginator\u201d of the wind god and thunder god theme.
\n\u3000Sesshu (1420-1506), on the other hand, was an ink painter and Zen monk active in the Muromachi period. He was a great predecessor of Tawaraya Sotatsu, who lived nearly 100 years before Sesshu. Born in Bicchu Province, he trained at Shokokuji Temple in Kyoto before moving to Suo Province under the patronage of the Ouchi clan. Later, he traveled to China on a Ming Dynasty ship and learned Chinese painting techniques from a painter named Li Jae.
\n\u3000Mushanokoji Saneatsu, a writer who has unearthed from the history of Japan the ink painting of the Wind God and Thunder God by Sesshu Sesshu, introduced his work in the August 1950 issue of the magazine \u201cKokoro\u201d under the title of \u201cSesshu, Thunder.<\/p>\n

\u3000The origin of this Japanese wind god and thunder god thematization has been attributed to the July 24, 930 Seiryouden lightning strike incident (a lightning disaster that occurred at Seiryouden in the Inner Palace of Heian-kyo, Kyoto). The incident was described in detail in the \u201cKitano Tenjin Engi Emaki\u201d (Kitano Tenjin Engi Picture Scroll). In this scene, Sugawara no Michizane, who became the god of thunder after being moved to Dazaifu due to a conspiracy by the Fujiwara clan and passing away in a fit of rage, attempts to bring down the death penalty on the Fujiwara clan that had falsely accused him of crimes. The scene is so humorous that one can’t help but laugh at the sight of the fleeing palace guests who are struck by the lightning of Suga, who has turned into the god of thunder, despite the grandeur of the scene.
\n\u3000Tawaraya Sotatsu was commissioned by Kozan-ji Temple to paint this scene, and he must have viewed such folk tales and picture scrolls to organize the subject matter for his paintings.
\n\u3000I think that the traditional experience of the Japanese people, who are annually battered by typhoons, seems to have contributed to the purification of the Wind God and Thunder God theme. The sense of beauty and the humorous nature of the expression seem to me to represent the Japanese sensibility.<\/p>\n

\u3000<\/p>\n","protected":false},"excerpt":{"rendered":"

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