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The Study of Play Picture(芝居絵) and Nishikie(錦絵)in the Edo Period(江戸時代)

  • 日本硏究
  • 2015, (38), pp.501-517
  • Publisher : The Center for Japanese Studies
  • Research Area : Humanities > Japanese Language and Literature
  • Published : February 20, 2015

milim Lee 1

1성결대학교

Accredited

ABSTRACT

The Study of Play Picture(芝居絵) and Nishikie(錦絵)in the Edo Period(江戸時代) In the world of Japanese Woodblock Prints(浮世絵), the painters who painted Play picture(芝居絵) played an active role in making Sign pictures(看板繪) and Artworks(挿絵) in Printed books(版本) as well. Sign pictures(看板繪) has been handed down up to date protected by patent right of Torii School(鳥居派), however, the unique method of depiction(描写法) considers as one of tradition of Japanese Woodblock Prints(浮世絵). Moreover, In publication, Artwork(挿絵) or Cover(表紙) in the Original copy(正本) of Nagauta , Long epic song(長唄Nagauta) or Ballad drama(浄瑠璃) is one of kind of Play picture(芝居絵), and so is Artwork(挿絵) in Lines Collection(台詞集) called Parrot stone(鸚鵡石). The novel contained the picture of Kusazōshi(草双紙), mostly as Artwork(挿絵) of Play picture(芝居物語), depicted the stage as real and painted people as Portrait(似顔) of Actor(役者) in the form of Japanese woodblock prints(浮世絵師). Japanese woodblock prints(浮世絵) has developed with Kabuki(歌舞伎) on a basis of reciprocity since the early Painting of Handwriting(肉筆畵) times. Later, in the late Meiji Period(明治 1868-1912), when the photography became substitute for Play picture(芝居絵), Japanese woodblock prints(浮世絵) also started to decline. Japanese woodblock prints(浮世絵) brought up by Common people in the Edo Period and Kabuki(歌舞伎) faced the same fate. Play picture(芝居絵) among the remaining Japanese woodblock prints(浮世絵) reveals the glorious aspect of Kabuki(歌舞伎) in the Edo Period.

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