{"id":"literati-painting","no":509,"name":"Literati Painting","ja":"文人画","era":"11th century–","family":"東アジア絵画","kind":"スタイル","collection":"Dictionary expansion 25","addedAt":"2026-08-19","source":{"title":"Wikipedia — Literati painting","url":"https://en.wikipedia.org/wiki/Literati_painting"},"reference":{"status":"verified","pageUrl":"https://en.wikipedia.org/wiki/Literati_painting","credit":"Wikipedia — Literati painting","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Ni%20Zan%20Six%20Gentlemen.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Ni%20Zan%20Six%20Gentlemen.jpg","credit":"倪瓚《六君子図》1345年 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Huang%20Gongwang.%20Dwelling%20in%20the%20Fuchun%20Mountains.%20detail.%20National%20Palace%20Museum%2C%20Taipei.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Huang%20Gongwang.%20Dwelling%20in%20the%20Fuchun%20Mountains.%20detail.%20National%20Palace%20Museum%2C%20Taipei.jpg","credit":"黄公望《富春山居図》部分 1348〜1351年 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/IKE%20NO%20TAIGA%20Six%20Perspectives-1.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:IKE%20NO%20TAIGA%20Six%20Perspectives-1.jpg","credit":"池大雅《六遠図》のうち 1766年 — Wikimedia Commons / Public domain"}]},"essence":"職業画家ではなく士大夫が、売るためではなく自らの精神を示すために描いた絵。技巧の巧みさより筆の気韻を尊び、詩・書・画・印を一枚の紙の上で同格に扱う。下手に見えることを恐れない態度がこの様式の核にある。","cues":["渇筆による枯れた線","詩と書と印の同居","淡い墨の階調","技巧を誇示しない構え"],"intents":["静けさ","親密","高級"],"works":["技巧よりも姿勢を前に出す画面をつくる","文字と絵を同じ格で一枚に置く"],"recipe":{"type":"書を絵の一部として扱い、印を構図の要石に使う","layout":"余白を主役とし、対象を隅へ寄せる","material":"渇いた筆と淡墨で、階調を最小限に抑える"},"avoid":"稚拙さを装うのは正反対である。技術の上で誇示を降りた結果としての枯れが本体である。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["sumi-e","chinese-scholar-garden"],"study":["蘇軾による士人画の理念","元四大家と明清への継承","日本の南画への波及"],"en":{"essence":"Painting made by scholar officials rather than professional painters, not to sell but to show their own spirit. It valued the spirit of the brush above skill and treated poetry, calligraphy, painting and seal as equals on one sheet. At the core of the style is a refusal to fear looking unskilled.","cues":["Withered line from a dry brush","Poem, calligraphy and seal sharing one sheet","Pale gradations of ink","A stance that never displays skill"],"works":["Making an image that puts attitude ahead of skill","Placing writing and image on one sheet at the same rank"],"recipe":{"type":"Treat calligraphy as part of the picture and use the seal as the keystone of the composition.","layout":"Let the void take the lead role and push the subject into a corner.","material":"Hold the gradations to a minimum with a dry brush and pale ink."},"avoid":"Feigning clumsiness is the opposite. The substance is a witheredness reached by standing on technique and stepping down from display.","study":["Su Shi's idea of scholar painting","The Four Masters of the Yuan and the transmission into Ming and Qing","Its spread into Nanga in Japan"]}}