The purpose of this study is to clarify the taste of painter's residence in the suburbs in Kyoto at the late Edo period.
There were about ninety painters, who lived in the suburbs by the directory published in Kyoto at the late Edo period.
This study researched on the transition of address, activities of execution, etc., about the painters who proved at that time, Ikeno Taiga, Hara Zaityu, Ganku, Tanaka Totugen, Nakabayashi Tikudo, and Hine Taizan.
The painter's residence in the suburbs was clarified. In short, it had the elements:
(1) Lead a full work
(2) Retirement's place
(3) Health resort

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中世の絵巻のなかでも、画材の特異性でひときわ目を魅くのが『百鬼夜行絵巻』だが、本絵巻については、何を主題とするものかという疑問が出されている。しかしこの疑問は、最も著名な大徳寺真珠庵本だけを取り上げて『百鬼夜行絵巻』の全体像を語ろうとする傾向から生まれたと思われる。『百鬼夜行絵巻』の成立過程や主題を把握するためには、むしろ真珠庵本とは異なった構図を持つ「異本」や「別本」に目を向ける必要があろう。またそれに関連して、『付喪神記』との関係を具体的に考究してみたい。

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The genre of hyōbanki originally developed as laudatory reviews of Kabuki actors during the 18th century in Japan. Since the mid-18th century, it was extended to a wider cultural circle of scholars, physicians, literary artists and notorieties, with more elements of criticism. Heian Gaka Hyōbanki, a review of painters in Kyoto, dated 1856, is known as a rare application of hyōbanki to the painters in the Higashiyama Spring-Autumn Exhibition, which was begun by Minagawa Ki’en in 1792.Here we present the text of Kyoto Bunjin Hyōbanki, a newly discovered hyōbanki on the painters in Kyoto, dated the winter of 1853, which was handwritten by Yamamoto Yôshitsu. The title “Kyoto Bunjin Hyōbanki” was given to the manuscript by Yamamoto Mataichi, son of Yōshitsu around 1907. Contrary to Heian Gaka Hyōbanki, which maintains a more or less laudatory style, the 108 painters in this anonymous satire are bitterly attacked in comic references to the 108 types of love they are supposed to enjoy mainly in the pleasure quarters (yūri).Comparing it with the anonymous ichimai zuri (one sheet print) described by Tajihi Ikuo (1967), all the citations from this now untraceable print can be traced back to the text of Kyoto Bunjin Hyōbanki. Thus, Yōshitsu proves not to have beeen the author but to have transcribed it, presumably from its augmented handwritten version, in order to enrich the library of Yamamoto Dokushoshitsu school when he succeeded his father, the Confucian naturalist Yamamoto Bōyō.Among the 108 painters attacked by the anonymous author, the two top painters of the period, Oda Kaisen and Nukina Kai’oku, are respectively positioned at the beginning and at the end of the text, the conventional position in traditional hyōbanki. The two were extreme rivals and had no contact in their social life. However, in this case, Oda is the mocked more forcefully, and at the greatest length. Bōyō condemned illiterate and libertine painters, but approached Nukina and Oda, both learned painters, with a certain detachment, whereas Yōshitsu maintained an intensive intercourse with both of them, but especially with Oda, one of the painters who most frequently participated in the Bussankai annual meeting of amateur naturalists at Dokushoshitsu school.Further investigation is needed to elucidate the true author of this satire in hyōbanki style, the Kyoto Bunjin Hyōbanki, in search of the ichimai zuri lost for 55 years.

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近代日本における実業家・古美術コレクターとして著名な原富太郎（三溪、1868年 -1939年）と高山寺との関係について、絵画作品の点から考察した。三溪は高山寺の中興開祖である明恵上人の七百年遠忌（1931年）に、六祖慧能像を描き寄進した。その画は、彼が模写した高山寺所蔵の明恵上人像や高山寺印のある出山釈迦像と同様に、3点の特徴を持つ。 　１ .極度の苦行の跡を示さない　２ .冥想・坐禅する姿ではない　３ .光彩を放ち崇拝される姿ではない 彼の描いたこれらの仏教画は一種の自画像であり、シビアな生糸業界で得た人生観と蒐集した古美術の美によって洗練された仏教（美術）観のあらわれであった。それは当時の高名な禅僧たちも高い境地として認めるレヴェルに達していた。また、六祖慧能像に寄せた賛「本来無一物」を彼は心にとどめ、この語が具現化した長次郎作の茶碗「無一物」を入手し愛用した。三溪は、明恵上人や禅僧たちのように坐禅を行わなかったが、高山寺所縁の作品を手元に置き、模写し、自身の投影として画を描くことで高山寺や明恵上人を自らに近しいものとし続けていた。

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