近代日本において，色彩論は欧米より輸入され，受容される．その過程で，日本画家である田口米作により，『色彩新論』が著された．本書は明治43年に刊行されたが，欧米の近代的な色彩論を主に紹介する同時期の書籍とは性質が異なる．田口米作は著作の中で，色彩理論の解説に加え，日本の色彩文化論的内容を含む独自の視点を提示している．これは当時の色彩論関係の書籍ではあまり見られない特徴である．独特の色彩理論が構築された要因として，米作が浮世絵師出身でポンチ絵師であったこと，東京美術学校のようなアカデミズムとは距離があったこと，日本画家として色彩理論を独自に学んだこと，が挙げられる．一方で，米作は『色彩新論』刊行を待たず早世し，弟子筋へ技術や知識が継承されなかった．本研究は田口米作の『色彩新論』の成立における諸背景を整理し，その特異性を明らかにする．

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Okyo Maruyama (1733-95) was the first to profess himself to be a realist in the history of Japanese pictorial art. Having studied the western method of the perspective through "Megane-e" picture, he was forced to face consciously with Japanese tradition in respect to the materials, motifs, and sense of space in the course of painting. There may be found in this point the primary moment in building up his original style. In his later years, however, he went through the process of returning to the tradition. Therefore, my attempt in this paper is to follow the development of his style, study every stage in his life, and contemplate some problems inherent in his style. For a chronological order I have made use of not only his 214 pieces of work, including 197 whose painting dates are already made public, but also his early works bearing his sign alone. By analysing the style of Kacho-ga (paintings of flowers and birds) which are typical of each period, I have divided 45 years of his activity (from the age of 17 to 63) into four periods. His style is considered to have been established by 1765 when he painted "Sessyo-zu" (a pine-tree covered with snow). The following period ending in 1776 was the style-developing stage. Reformations in his style were perfected in 1777 and years of maturity followed down to 1791. The final stage continued thereafter until his death in 1795. Okyo entered upon his career with taking lessons in the Kano school. After studying perspective, he aimed at the three-dimensional expression of the objects. The next period began at the time when the purpose was realized in "Sessyo-zu". He succeded gradually in building up his unique style which shows decorative composition of objects painted as they really are : "Fuji-zu" (wisteria) is an artistic perfection in this period. His interest in drawing lines appeared in the third period, developing itself into a plain composition by simplified forms, and this trend was accelerated in the course of Shoheki-ga age after 1784. In the fourth stage lines and stuctuctural power grew stronger than ever, and with the drying up of his sentiment he was seen, under his concentrated power of construction, to go back to the "Kanga" style showing structural space with a tinge of the Kano school. Considered from these developments, it seems that Okyo adopted the method of perspective only as a mean of visual effects without understanding the lying rationalism of western science. I have examined what bearing this fact has on the current thought of later Edo period and particularly on the pictorial ideas of Okyo.

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