Mandarin duck and peony
牡丹に鴛鴦図

Artist 作家名	Folk paintings of the Yi Dynasty 李朝民画
Material 手法	Paint on Paper 紙本・彩色
Dimensions 寸法	本紙167.0×48.2㎝(Image) 総丈74.2×34.8㎝(Mount)
Caption 備考	【解説】 李朝民画とは、朝鮮，李朝時代後期に描かれた「生活画」のことを指します。 鑑賞画とは異なり、生活とともに発展し、屏風や掛軸、壁に貼ったりして実用的に用いられてきました。 モティーフには「花鳥・文字・吉祥動物・文房・儒仏道三教」などがあり、各々に民の生活に因んだ願いが込められていることが特徴です。 民画には画家の署名はなく、誰の作品かという特定は出来ません。 表現様式は多種多様で、「のびやかでユーモラス、素朴」と称される民画の多くは旅絵師といった放浪の画家が手掛けたものとされています。 しかし中には宮中画員・仏画工、民間に交じる乞食天才と称される天才画工などが手掛けた民画の秀作が多く存在している事も事実です。 【Ｅxplanation】 Yi Dynasty folk paintings refer to “life paintings” painted in the late Yi Dynasty period of Korea. Unlike the paintings for viewing, they were developed along with daily life and were used for practical purposes, such as on folding screens, hanging scrolls, and walls. The motifs include “flowers and birds,” “letters,” “auspicious animals,” “bunbou,” and “the three teachings of Confucianism, Buddhism, and Taoism,” each of which is characterized by the inclusion of wishes related to the people's daily lives. The works are not signed by the artist, and it is not possible to identify the artist's name. Many of the folk paintings, which are described as “spontaneous, humorous, and simple,” are believed to have been created by wandering painters such as itinerant painters. However, it is also true that there are many excellent works of folk painting created by court and Buddhist painters, as well as by genius painters who were called “beggar geniuses” who mingled in the private sector.
Period 製作年	李朝後期
Condition 状態	本紙修理跡あり
Accessory 付属品	Wooden box 箱付
Biography 略歴

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