真美大観/狩野永徳筆琴棋及花鳥圖


琴花鳥襖 
紙本墨畫
狩野永徳筆
第一、彈琴圖　第二、園棋圖
二枚連續各竪五尺九寸、横九尺四寸四分
第三、巨梅水禽圖
四枚連続竪九尺九寸、横一丈八尺八寸八分
京都紫野臨濟宗大徳寺頭聚光院藏

狩野永徳（天文十二年―天正十八年即ち西暦一五四三年―一五九〇年）は松榮の長子、畫を祖父元信に學び、初は織田信長の近侍たりしが、後、豊臣秀吉に仕へ、京都の聚樂第、及び、大阪城の大障壁畫等を作れり、其筆法は、麤にし草なれど、氣骨の豪にして奇なるは、五百年來、未だ曾て有らざる所と稱せらる、然れども、彼の作、皆悉く麤大なるにはあらず、試に、此に出す襖の畫を見よ、其用意、著筆、共に精且密にして、趣致高遠、情景兩ながら缺く所なきを認めん、唯憾むらくは、彼が當時の侯伯に尊重せられ、其請に應じて、大畫を描くに忙しく、多數の密畫を後毘に遺す能はざりしを、世間、まヽ、彼を密畫に拙なるものと傳ふるあり、今其誤見を正さん爲め、特に、この琴棋圖を撰出せり、

巨梅水禽圖は、雄渾の筆を以て、春光の駘蕩たる處を寫出し、麤中に細あり、之に對するものをして、人間、亦、秋あるを知らざらしむ、蓋、名品といふべし、

Screen-paintings (Three Sets of Fusumas)　
By Kanô Ei-toku
In the possesion of Ju-kwô-in, Daitoku-ji, Kyôto.
Collotype.
The playing on a lyre ('Koto'), on two screens. (5 ft. 9 in. x 9 ft. 3in.).
The game of checkers ('go'), on two screens (of the same height and length as above).
A huge plum-tree and water fowls, on four screens. (5 ft. 9 in. x 18 ft. 6 in.).

Kanô Ei-toku (1543-1590 A.D.) the eldest son of Kanô Shô-yei, studied the art of painting under Kanô Moto-nobu, his grandfather, who is founder of the Kanô school. At first he was an attendant of Oda Nobu-naga, but after the death of the latter he served Toyo-tomi Hide-yoshi (Taikô) for whom he executed the grand wall-painting of his private residence Shuraku-dai in Kyôto and those of the castle of Osaka.

His style is generally bold and rough, but not wanting in regularity and refinement. However, some of his painting are not bold and rough in their style, for instance, the present pictures on screens are finished in a full exactness and perfect dexterity; well presenting the in furnishing large and rough pictures for the decoration of residence of lords and nobles of his time, and no time was left him to produce many minute paintings as we have here in our Fusuma. It was sometimes erroneously supposed that he was not skilled in minute paintings, and it is with the view to correct this error that we have here produced these fine specimens of his productions.

底本 
田島志一編　『真美大観　第一册』　日本佛教眞美協會、1899年。

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