Journal Article 「アイヌ人物六曲一双屏風」(東北福祉大学コレクション)と関連するアイヌ風俗画
"A Pair of Six-Leaf Screens Depicting the Ainu People (the museum collection)" and other Ainu genre pictures connected with these screens

佐藤, 花菜  ,  濱田, 淑子

当館所蔵の波嶋筆「アイヌ人物屏風」は波静筆「蝦夷人物図屏風」に構造が酷似している。さらに、なんらかの関連を持つと考えられる類似構図のアイヌ風俗画も見つかり、それらを比較検証した。その結果、当館屏風は「関連資料」の中で重要な位置にあり、18世紀末ごろに描かれたのではないかと考えた。画師・波嶋は円山派の影響を受けながらも、文人画風の情趣漂う四条派の流れの中に位置づけられる。波嶋筆「アイヌ人物屏風」と波静筆「蝦夷人物図屏風」、「関連資料」は、小樽市総合博物館所蔵の「画縞」、市立函館博物館所蔵の「アイヌ絵下絵」との深い関連も考えられるところから、これまでの範疇には入らない、アイヌ風俗画の新しい系譜形成も予感させる。"A pair of six-leaf screens depicting the Ainu people (the museum collection)," painted by Hato, closely resemble, in composition, "another pair of Ainu-themed six-leaf screens (private collection in Kisakata)," painted by Hasei. We have also found other Ainu genre pictures connected with these screens, and have compared the museum collection screens with these by examining the composition and features of the oeuvre. As a result, we find that the screens of the museum collection may have been drawn at the end of 18th century and are significant works in the Ainu genre.While Hato was influenced by the Maruyama School, his lyrical, literati-style paintings place him in the Shijo School.Considering the Ainu-themed screens painted by Hato, Hasei and other pictures of the Ainu genre and their relationship to sketches owned by Otaru City general Museum and drawings owned by Hakodate City Museum, a new genelogy in the Ainu art history of the Ainu genre may be formed.

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