{"id":"maruyama-shijo","no":760,"name":"Maruyama–Shijō Painting","ja":"円山・四条派","era":"late 18th–19th centuries","family":"東アジア絵画","kind":"スタイル","source":{"title":"Ashmolean Museum — Maruyama-shijo and Shasei schools","url":"https://jameelcentre.ashmolean.org/collection/7/10235/10291"},"essence":"円山応挙と松村呉春、その後の京都の画家たちに結び付く系統。実物を観察する写生と、筆を省く軽やかな表現を組み、鳥、花、動物、人物を明快に見せる。応挙の観察と四条派の詩的な柔らかさには違いがあり、写実的な日本の絵全般とは分ける。","cues":["姿勢や形を観察した鳥、花、動物","細い輪郭と淡い色の明快なまとまり","省いた背景と主題のあいだの余白","写生の具体性と柔らかな筆の省略"],"intents":["静けさ","親密"],"pair":["kano-school","nanga"],"study":["Maruyama Ōkyo and Matsumura Goshun","Ashmolean — Maruyama-shijo and Shasei schools","The Met — White Herons"],"works":["日本絵画の教材で、写生と型の継承の関係を比較するとき","鳥や植物を主題にした出版で、具体的な姿と背景の省略を検討するとき"],"recipe":{"type":"説明の文字は主題の向きと競合させず、余白の端に揃える。","layout":"主題の姿勢を先に観察し、背景を省いても接地と方向が読めるようにする。","material":"輪郭、淡彩、湿った墨を少ない層で試し、硬い線と柔らかい面を使い分ける。"},"avoid":"写真のように正確かだけで判定しない。応挙と呉春を同じ筆致へまとめず、描かない部分と作家の系譜も確認する。","colors":["#E5DCC6","#717768","#323A33"],"motif":"painting","collection":"Dictionary expansion 50","addedAt":"2026-10-05","reference":{"status":"verified","pageUrl":"https://jameelcentre.ashmolean.org/collection/7/10235/10291","credit":"Ashmolean Museum — Maruyama-shijo and Shasei schools","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Maruyama%20%C5%8Ckyo%20-%20White%20Herons%20-%201975.268.71%20-%20Metropolitan%20Museum%20of%20Art.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Maruyama%20%C5%8Ckyo%20-%20White%20Herons%20-%201975.268.71%20-%20Metropolitan%20Museum%20of%20Art.jpg","credit":"Maruyama Ōkyo, White Herons, 1769 — Metropolitan Museum of Art — Wikimedia Commons / Public domain"}]},"en":{"essence":"A Kyoto painting lineage associated with Maruyama Ōkyo, Matsumura Goshun and their followers. Observation from life meets economical brushwork to make birds, plants, animals and figures clear. Ōkyo's observational emphasis and the Shijō school's lyrical softness differ; this is not a label for every realistic Japanese painting.","cues":["Observed forms and poses of birds, plants and animals","Clear groupings of fine contours and light colour","Open space around subjects and abbreviated backgrounds","Specific observation combined with soft brush economy"],"works":["Comparing observation and inherited conventions in Japanese painting education","Exploring precise poses and abbreviated backgrounds in publications about birds or plants"],"recipe":{"type":"Align explanatory text near the edge of open space without competing with the subject's direction.","layout":"Observe the subject's pose first, keeping its grounding and direction legible when omitting a background.","material":"Test contours, light colour and wet ink in few layers, distinguishing firm lines from soft surfaces."},"avoid":"Photographic accuracy alone is not the criterion. Do not collapse Ōkyo and Goshun into one brush manner; examine omissions and lineage too."},"links":{"page":"https://indexstyle.org/styles/maruyama-shijo","json":"https://indexstyle.org/api/styles/maruyama-shijo","designSpec":"https://indexstyle.org/styles/maruyama-shijo/design.md","imagePrompt":"https://indexstyle.org/styles/maruyama-shijo/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}