安政期までの<膝栗毛もの>作品群における書目年表稿
Catalog of books chronological table of “HIZAKURIGE-Group”work’s until 1860
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Through bibliographic research, it was my research purpose to understand at a glance the history of the rich fun of “Tokaidochuhizakurige”. As a result, the work of “HIZAKURIGEGroup” that was created until 1860, in other words, I track 32 kinds of books(“Soroimono”, “Esugoroku”, books with illustrations, theater) in chronological order, I was able to construct the history of Iconography inheritance in the first half of the year.While an original “HIZAKURIGE” was published, “HIZAKURIGEGroup”which began by progress (the 1800s) at the same time continued being created after author JippenshyaIkku died while being full as ever, and changing a genre.And there was the existence of “Hiroshige Utagawa” in the background.From around 1834 until1856, I was able to watch the course that “HIZAKURIGEGroup” came to settle in as motif picture subject with grace of Hiroshige who created 11 kinds of “HIZAKURIGEGroup” through a catalog of books chronological table.
Abstract
Through bibliographic research, it was my research purpose to understand at a glance the history of the rich fun of “Tokaidochuhizakurige”. As a result, the work of “HIZAKURIGEGroup” that was created until 1860, in other words, I track 32 kinds of books(“Soroimono”, “Esugoroku”, books with illustrations, theater) in chronological order, I was able to construct the history of Iconography inheritance in the first half of the year.While an original “HIZAKURIGE” was published, “HIZAKURIGEGroup”which began by progress (the 1800s) at the same time continued being created after author JippenshyaIkku died while being full as ever, and changing a genre.And there was the existence of “Hiroshige Utagawa” in the background.From around 1834 until1856, I was able to watch the course that “HIZAKURIGEGroup” came to settle in as motif picture subject with grace of Hiroshige who created 11 kinds of “HIZAKURIGEGroup” through a catalog of books chronological table.
참고문헌 (27)
- 伊原敏郎, "歌舞伎年表』第五巻･第七巻", pp.535~555 (1960), 岩波書店
- 井上隆明, "日本書誌学大系14", pp.1~780 (1981), 青裳堂書店
- 康志賢, "版本挿絵から浮世絵まで越境する〈膝栗毛もの〉の画題について－「狐と思い責める」図様を端緒に", 浮世絵芸術, (164), pp.47~56 (2013), 国際浮世絵学会
- 康志賢, "〈膝栗毛もの〉作品群の書誌ーその図様継承史の一環として", 国語国文, (923), pp.36~55 (2011), 京都大学文学部国語国文学研究室
- 강지현, "合巻「東海道中栗毛弥次馬」における 原話離れと作意について", 日本學硏究, 33, pp.155~177 (2011), 일본연구소
- 강지현, "〈膝栗毛もの〉画題の伝承 －「洗濯物に腰抜かす」 「五右衛門風呂を踏み抜く」 を軸に－", 일본연구, (46), pp.173~190 (2010), 일본연구소[DOI]
- 康志賢, "〈膝栗毛もの〉の絵双六『しんはん東海道鬱散双六･『五十三駅滑稽膝栗毛道中図会』の位置付け", 浮世絵芸術, (159), pp.48~61 (2010), 国際浮世絵学会
- 강지현, "<膝栗毛もの>絵双六に現れた江戸表象文化考", 일본연구, (39), pp.67~84 (2009), 일본연구소[DOI]
- 康志賢, "〈膝栗毛もの〉絵双六の表象と表現", 国際日本文学研究集会会議録 第三十回, pp.95~108 (2007), 国文学研究資料館
- 康志賢, "浮世絵に見る『東海道中膝栗毛』滑稽の旅", 浮世絵芸術, (151), pp.15~33 (2006), 国際浮世絵学会
- 草津宿街道交流館, "浮世絵ー広重･三代豊国らの描く街道風景", pp.1~95 (2004), 草津宿街道交流館図録
- 倉橋正恵, "国貞の役者選択", 浮世絵芸術, (170), pp.5~22 (2015), 国際浮世絵学会
- 原色浮世絵大百科事典編集委員会, "原色浮世絵大百科事典" (1982), 大修館書店
- 佐藤悟, "国立劇場調査養成部", pp.1~191 (2011), 日本芸術文化振興会
- 「当館所蔵『役者／見立東海道五十三駅』について(抄)」近世文芸の表現技法<見立て･やつし>の総合研究プロジェクト報告書, "新藤茂", 国文学研究資料館, 18~27, pp.報告書第２号 (2006)
- ジョン･Ｔ･カーペンター, "広重の役者絵摺物", 浮世絵芸術, (160), pp.36~49 (2010), 国際浮世絵学会
- 高木元, "十九世紀の草双紙 －明治期の草双紙をめぐって－", 文学, 10(6), pp.4~15 (2009), 岩波書店
- 豊橋市二川宿本陣資料館, "豊橋市二川宿本陣資料館図録", pp.1~26 (2001)
- 中山正明, "膝栗毛文芸集成 第32巻", pp.512~515 (2016), ゆまに書房
- 林美一, "艶本紀行 東海道五十三次", pp.1~400 (1986), 河出文庫、河出書房新社
- 林美一, "江戸艶本を読む", pp.1~260 (1987), 新潮社
- 尾山蒼海, "膝栗毛大全集 演芸画報" (1933), 演芸画報社
- 日比野秀男, "東海道中膝栗毛の世界展", pp.1~83 (2008), 常葉美術館発行
- 祐田善雄, "義太夫年表近世篇第５巻", pp.1~724 (1982), 八木書店
- 古井戸秀夫, "歌舞伎登場人物事典", pp.798~ (2006), 白水社