{"id":"nihonga","no":499,"name":"Nihonga","ja":"日本画","era":"1880s–","family":"東アジア絵画","kind":"スタイル","collection":"Dictionary expansion 25","addedAt":"2026-08-19","source":{"title":"Wikipedia — Nihonga","url":"https://en.wikipedia.org/wiki/Nihonga"},"reference":{"status":"verified","pageUrl":"https://en.wikipedia.org/wiki/Nihonga","credit":"Wikipedia — Nihonga","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Hashimoto%20Gaho%20002.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Hashimoto%20Gaho%20002.jpg","credit":"橋本雅邦《白雲紅樹》1890年 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Uemura-Flame-1918.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Uemura-Flame-1918.jpg","credit":"上村松園《焔》1918年 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Enbu%20by%20Hayami%20Gyoshu.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Enbu%20by%20Hayami%20Gyoshu.jpg","credit":"速水御舟《炎舞》1925年 — Wikimedia Commons / Public domain"}]},"essence":"西洋画の流入に対して、岩絵具・膠・和紙や絹という材料の側から「日本の絵画」を定義し直した近代の枠組み。伝統的な技法を守りながら主題と構図は近代化するという、材料先行の折衷が特徴。","cues":["岩絵具の粒子と発色","膠で描く層の重なり","絹本・紙本の地の白","輪郭線と平面性の保持"],"intents":["静けさ","高級","親密"],"works":["素材の物質感を主題と同じ強さで見せる","伝統的な材料で近代的な構図を扱う"],"recipe":{"type":"落款と余白の関係で画面の重心を決める","layout":"余白を広く取り、対象を画面の一方へ寄せる","material":"岩絵具の粒度を選び分け、膠で層を重ねる"},"avoid":"和風の意匠と混同しない。材料と技法の選択がこの枠組みの本体である。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["rinpa","sumi-e"],"study":["フェノロサと岡倉天心の役割","岩絵具と膠という材料の規定","洋画との対概念としての成立"],"en":{"essence":"A modern framework that redefined Japanese painting from the side of its materials, mineral pigment, animal glue, washi and silk, in response to the influx of Western painting. Its character is a compromise led by material, keeping traditional technique while modernizing subject and composition.","cues":["The grain and color of mineral pigment","Layers built up with animal glue","The white of the silk or paper ground","Contour line and flatness preserved"],"works":["Showing the physical presence of the material as strongly as the subject","Handling modern composition with traditional materials"],"recipe":{"type":"Let the relation between the seal and the void set the center of gravity.","layout":"Leave the void generous and push the subject to one side.","material":"Choose the grain size of the mineral pigment and build layers with glue."},"avoid":"Do not confuse it with Japanese styling. The substance of this framework is the choice of material and technique.","study":["The roles of Fenollosa and Okakura Tenshin","The definition of the medium as mineral pigment and glue","Its formation as the counter concept to yōga"]}}