에도 시대 회화의 카라코(唐子)像 연구

Abstract

In Japanese paintings, there exist not a few paintings that have the image of children as the subject. Children’s images are important as they are visual data that enable us to see how children looked like and what role they played, as well as their meaning as an independent subject of a painting. In particular, various appearances of children were frequently treated as the subject of paintings in the Edo Period, which is a modern period of Japan. A clear change appears in the paintings of the Edo Period that have children as the subject and they are distinguished from ones in the previous period as there are found many images of children wearing the Haragake (腹掛け: a stomach band for a baby). It is assumed that children wearing the Haragake started to appear in Japanese paintings from <弁才天および四眷&#23646;像> created in 1212. However, Haragake hardly ever appear in paintings of the Middle Ages and began to appear frequently particularly in the 18th century. Another change is in terms of hairstyle, with a fashion for Karakomage (唐子&#39671;), which is two rings on top of the head after having the hair split into two. The appearance of Karako (唐子) where the body is decorated with the most Chinese garments and hair styles in Japanese painting history show a gradual change along with the passage of time. The early appearance of the Karako image looks neat and mature however, a new type of Karako appears around the late 18th century, and especially the Karako by Nagasawa Rocetz (長&#27810;蘆雪), who adopted the subjects of paintings freely, appear more realistic. Such a Karako image became the model of Japanese children paintings, and the images appear en masse in Byoubue (&#23631;風&#32117;), Fusumae (&#35158;&#32117;), Emaki (&#32117;卷) and prints. Besides paintings, the images are found in Imariyaki (伊万里&#28988;), Hiradoyaki (平戶&#28988;), Inrou (印籠), textiles, sculptures, and dolls. Regarding the background on where the Karako image appears in Japanese paintings like this, it is supposed that it must have been highly influenced by the picture books introduced from China. In particular, little boy pattern shown in the picture and ceramic ware introduced from China after the 17th century are considered to have had a direct influence on the formation and development of children’s images in the Edo Period. The cultural exchanges with China had continued from the Ancient Period. Although there was a temporary disruption and limitations according to the political relationships, it was notable also in Japanese painting history that the Karako image was in fashion specifically in the Edo Period under the circumstance where the technique and style of Chinese paintings were consistently introduced. In other words, it is necessary to keep in mind that the love of Karako in the Edo Period was associated with internal factors that occurred within Japan from the Warring States period (&#25126;&#22269;時代) and the Modern Period. The internal factors include the advent of the concept of Kodakara (子&#23453;) that considers children as treasure, the settlement of a view on the posthumous life of Sainokawara (賽の河原), which is a hell exclusively for children, execution of collective education for children’s education, and the increase of books of which subjects are women and children. The phenomenon that the Karako image is loved and circulated is closely related to its auspiciousness. The Karako image is accepted as an auspicious meaning, such as the birth of many boys and good fortune, as symbolized by the shape of the little boy (童子) in Northeast Asia including China and Korea. In particular, while symbolizing the birth of many boys and good fortune (多子多福), success in life (立身出世), and long life, happiness, and peace (壽福康寧), the Karako image was utilized as a subject reflecting the meaning of an auspicious event (吉慶). The Karako image that was utilized in diverse ways while symbolizing the realistic hopes of people was shown frequently in the form of play scenes, education scenes, and the image of a mother and son. The Karako image shown in play may be classified into Karakoasobi (唐子遊び) and Chinese lute, oriental chess, books and paintings (琴棋書畵) in terms of its subject. Karakoasobi means a combination of Karako and play. The appearance of Karako that delight in play was accepted as an auspicious target, and it caused people to view and understand children as playful beings. And there are Chinese lute, oriental chess, books and paintings with subjects that were borrowed from China, but their contents are totally different. In China, they were accepted representative subjects that demonstrate the classical scholars’tastes. But in the Edo Period, they were often shown in Karakoasobi paintings (唐子遊び&#22259;) and Yuujo paintings (遊女&#22259;: courtesan paintings). Karako image is shown in the education scene where Karakos are writing and reading while sitting around in a room that looks like a Terakoya (寺子屋: village school). The scene showing children studying while they gather in one place is definitely different from the individual education where a teacher teaches one student that occurred in the Mid Period. As society became stabilized after the establishment of the Dokugawa Shogunate, the general social atmosphere was that the economic power and culture of people were enhanced. Such an atmosphere naturally led to an interest in children’s education. In particular as the number of Terakoya increased, education was distributed rapidly. Karako is also shown as the shape of a mother and son image. The combination of a mother who looks like a slender girl and a boy who resembles a Karako reflect greatly the influence of Chinese paintings. However, unlike the Chinese mother and son images that rarely show a mother’s care for her child or affection to a child, the appearance of a mother who is filled with affection for a child is shown in the scenes of ordinary life in Japanese mother and son images. Also from the late Edo Period, the mother and son paintings were similar to Chinese paintings in terms of composition or the subject of the paintings, however, Japanese paintings were created with Okubie (大首&#32117;), which is a unique style of Ukiyoe (浮世&#32117;) in the painting style. The Karako image is shown variously in each field of art including painting in the Edo Period, and it was utilized as a subject of literature. This implies the strong correlation between such Karako images and Chinese boy images. At the same time, the phenomenon that the Karako image, which had not been actively accepted in Japanese paintings in the Middle Age, was in fashion in the Edo Period may be a key word to identify changes about the image of and view toward children in the Middle Age and the Modern Age of Japan.;本論文は、江&#25144;時代に入り本格的に&#32117;&#30011;に描かれるようになった唐子像を&#30740;究&#23550;&#31216;とし、唐子像の流行を引き起こした社&#20250;的&#26465;件と背景を考察して、その身&#20307;的特&#24500;と象&#24500;する意味、そして類型を探ろうとした。 日本の&#32117;&#30011;には子供像を題材とした作品が少なからず&#27531;っている。子供像は&#30011;題としての意義と合わせて子供がどんな姿と役割を遂げながら育って行ったかを&#36799;って見ることのできる視&#35226;資料という側面でも重要である。特に日本の近世にあたる江&#25144;時代には色&#12293;な姿をした子供たちが&#32117;&#30011;の題材として&#25968;多く手がけられている。 また、江&#25144;時代に描かれた子供を題材とした&#32117;&#30011;にはそれまでの時代とは異った著しい&#22793;化が現れる。それは腹掛けをしたと唐子&#39671;を結った&#39658;型の子供像が大量に描かれ始めたということだ。腹掛けをした子供が日本&#32117;&#30011;に見られ始めたのは鎌倉時代である1212年に製作された＜弁才天および四眷&#23646;像＞からと推定される。しかし日本の中世&#32117;&#30011;では腹掛けはほとんど登場せず大部分の幼&#20816;たちは裸に近い姿で表現されている。腹掛けをした唐子の姿が本格的に活用され始めるのは江&#25144;時代、特に18世紀に入ってからだ。一方、&#39658;型においては中&#22269;風の&#39658;型である唐子&#39671;をしているが、これは&#39658;の毛を&#30495;ん中で二つに分け頭の上に各&#12293;&#22243;子のように&#39658;を結った姿のことを言う。 日本&#32117;&#30011;史において最も中&#22269;的な服&#35013;と&#39658;型で&#35013;飾をした唐子の姿は時間の流れにつれ少しずつ&#22793;化を見せる。唐子像の初期段階の姿は円山&#24540;&#25369;が描いた<郭子儀&#22259;>のように端正で大人びた感じがする。これは江&#25144;中期に製作された<唐子遊&#32117;卷>に描かれた唐子像に似ている。しかし18世紀後半になると新しい形態の唐子たちが描かれるようになる。特に、自由に&#32117;の素材を採&#25246;した長&#27810;蘆雪によって描かれた唐子の姿は現&#23455;味を&#24111;びるようになる。このような唐子像は日本の子供&#32117;のモデルとなり&#23631;風&#32117;、&#35158;&#32117;、&#32117;卷、版&#30011;などにたくさん登場するようになる。&#32117;&#30011;以外にも伊万里&#28988;、平戶&#28988;、印籠、織物、彫刻、人形などにも見られる。 日本&#32117;&#30011;に唐子像が登場することになった背景には中&#22269;から入ってきた&#32117;&#30011;の影響が大きい。特に17世紀以後、中&#22269;から入ってきた木版年&#30011;、そして陶磁器に描かれた童子模&#27096;が影響を&#19982;えた。 中&#22269;との文化交流は古代から持&#32154;的に行われてきた。政治的&#19982;件によって一時的な中&#26029;と制限があったが、中&#22269;&#32117;&#30011;の技法と&#27096;式が途切れることなく入ってきた&#29366;況下で唐子像が唯一、江&#25144;時代に入って流行することになった現象は日本&#32117;&#30011;史で特に注目しなければならない。江&#25144;時代の唐子愛好現象を引き起こした背景には&#25126;&#22269;時代から近世にかけて現われる&#20869;部的な要因も&#38306;係している。&#20869;部的な要因としてまず、江&#25144;時代子供に向けられた社&#20250;の視線、すなわち子供を財&#23453;と考える子&#23453;&#35251;念が台頭したということ、次に子供&#23554;用の地獄である賽の河原が死後世界&#35251;の一部分として定着したということ、そして子供の&#25945;育で集&#22243;&#25945;育が行われ初めたということ、最後に女性と子供を素材とした書籍が&#22679;加したということである。 また、唐子像が愛好され流通するようになった背景には唐子像が持つ吉祥性と深い&#38306;係がある。唐子は中&#22269;&#12539;韓&#22269;をはじめとする東アジアで童子の形象が象&#24500;する多男、多福などの吉祥的な意味を持つものとして考えられた。このような唐子の象&#24500;性は多子多福、立身出世、&#23551;福康寧の意味で分けることができる。多子多福、立身出世、&#23551;福康寧という人&#12293;の現&#23455;的な願望を象&#24500;する唐子像はいろいろな物に活用された。またそれらは次の三種類の類型、遊びの場面&#12539;&#25945;育場面&#12539;母子像の形態で頻繁に描かれた。 遊びの中に描かれた唐子のイメ&#12540;ジは素材的な面で唐子遊びと琴棋書&#30011;の二つに分けて考えることができる。唐子が遊んでいる&#27096;子は唐子遊びのモチ&#12540;フとも&#31216;され、これは唐子と遊びが結合されたもののことを言う。唐子の遊びモチ&#12540;フは動物たちと遊ぶ姿、玩具を使って遊んだり七福神や神仙のような道釋人物たちと一&#32210;に遊ぶ姿で描かれた。&#27005;しく遊ぶ唐子の&#27096;子はおめでたいものとして受け入れられるようになり、これは子供を遊ぶ存在として把握し理解するのに影響を&#19982;えることになった。一方、&#30011;題は中&#22269;から借用しながらも&#20869;容は全く違ったものを描いた素材を琴棋書&#30011;と言う。琴棋書&#30011;は君子として身に付けなければならない四種類の趣味で、琴、&#22258;碁、&#35501;書、そして&#32117;を意味し文人趣向の趣味を意味する代表的な題材だと言える。琴棋書&#30011;は日本&#32117;&#30011;にたくさん取り入れられているがその中でも特に唐子遊び&#32117;と遊女&#22259;に取り入れられている。 &#25945;育場面の中に描かれた唐子のイメ&#12540;ジは寺子屋と思われる場所で行われるお正月の書き初めの光景やたくさんの唐子たちが丸く&#22258;んで座り本を&#35501;み文字を書く姿で描かれている。このように唐子たちが1ヶ所に集まり勉&#24375;する場面は師匠が弟子と1&#23550;1で向かい合い&#25945;え、またそれを&#23398;ぶ中世社&#20250;の個別&#25945;育とは全く違うものだ。これわ&#24403;時の狀況と&#38306;連があるのに、&#24499;川幕府が成立され社&#20250;が安定するにつれ人&#12293;の&#32076;&#28168;力と&#25945;養が高くなり、庶民も&#35501;み書きと算盤を扱うことが出&#26469;なければ職業人として自立することができない雰&#22258;&#27671;が形成された。このような雰&#22258;&#27671;は自然に子供&#25945;育に&#23550;する&#38306;心を高めることになった。特に寺子屋の&#25968;が&#22679;加し&#25945;育は急速に普及した。 母子像の形態で描かれた唐子は天&#30495;爛漫な少女のような姿をした母親と組合されている子供の姿で、このような母子像には中&#22269;&#32117;&#30011;の影響が色濃く見られる。また子供の姿は純&#30495;無垢な子供と言うよりも大人びた表情で描いた感じだ。しかし中&#22269;の母子像には母親の育&#20816;場面がほとんど描かれておらず愛情表現もあまりされていない。一方、日本の母子像は我が子にあふれんばかりの愛情を注ぐ母親の姿が日常生活場面に描かれている。また江&#25144;後期に入り母子&#32117;は、構&#22259;や&#30011;題では中&#22269;&#32117;&#30011;と似た表現を使用しているが&#30011;風においては日本特有の浮世&#32117;のスタイルを構成して行くようになる。いわゆる上半身や顔だけを&#24375;調し視線は&#30011;面外や誰かを眺めている姿で描く大首&#32117;が製作された。 唐子像は江&#25144;時代の&#32117;&#30011;を初めとした芸術の各領域で&#27096;&#12293;な形で描かれ、文&#23398;の題材としても活用された。このような唐子像は中&#22269;の童子像との&#24375;い&#32331;がりを示唆すると共に日本の中世&#32117;&#30011;では積極的に受容されなかった唐子像が近世になり受け入れられ流行することになったというこの事&#23455;は中世と近世社&#20250;の子供像と子供&#35251;の&#22793;化を明らかにすることが出&#26469;る重要なキ&#12540;ワ&#12540;ドと言える。;일본 회화에는 어린이像을 제재로 한 작품이 적지 않게 존재한다. 어린이像은 독립된 畵題로서의 의의와 함께, 어린이가 어떠한 모습과 역할을 하며 살아갔는지를 살펴볼 수 있는 시각자료라는 측면에서도 중요하다. 특히 일본 근세에 해당하는 에도 시대(江戶時代: 1603-1867)에는 다양한 모습의 어린이들이 회화의 제재로 많이 다루어졌다. 에도 시대의 어린이 제재 회화에는 이전 시기와 구별되는 뚜렷한 변화가 나타난다. 즉 하라가케(腹掛け: 배두렁이)를 착용하고 카라코마게(唐子&#39671;)의 머리 모양을 한 어린이像이 대량으로 발견되는 것이다. 일본 회화사에서 가장 중국적인 복장과 머리 모양으로 신체를 장식한 카라코(唐子)의 모습은 시간의 흐름에 따라 변화된 양상을 보인다. 카라코像의 초기 모습은 마루야마 오쿄(円山&#24540;&#25369;)가 그린 <郭子儀&#22259;>, 에도 중기에 제작된 <唐子遊&#32117;卷>에 나타난 카라코와 같이 단정하고 어른스러운 느낌이다. 하지만 18세기 후반이 되면서 카라코의 모습에 현실감이 더해진다. 이러한 카라코像은 일본 어린이 그림의 모델이 되었고, 판화를 비롯해서 뵤부에(&#23631;風&#32117;), 후스마에(&#35158;&#32117;), 에마키(&#32117;卷) 등에서 대량으로 등장하였다. 카라코像이 일본 회화에 등장하는 배경에는 중국에서 유입된 畵蹟의 영향이 큰 것으로 생각된다. 특히 17세기 이후 중국으로부터 유입된 목판 年畵와 도자기 등에 나타난 童子 문양은 에도 시대 어린이像의 형성과 전개에 직접적인 영향을 미친 것으로 보인다. 중국과의 문화 교류는 고대부터 지속적으로 이루어져왔다. 정치적 관계에 따라 일시적인 중단과 제한도 있었지만, 중국 회화의 기법과 양식이 꾸준히 유입된 상황에서 카라코像이 유독 에도 시대에 유행하는 현상은 일본 회화사에서도 주목되는 것이다. 이것은 에도 시대의 카라코 애호현상에는 전국 시대부터 근세 시대에 걸쳐 일본 국내에서 발생하는 내부적인 요인도 염두에 두어야함을 의미한다. 그 내적 요인으로는 어린이를 보배로 여기는 코다카라(子&#23453;) 관념의 대두, 어린이 전용지옥인 사이노카와라(賽の河原)가 사후 세계관의 한 부분으로 정착, 어린이 교육에서 집단 교육의 시행, 여자와 어린이를 소재로 한 서적의 증가현상을 생각할 수 있다. 카라코像이 애호되고 유통되는 현상은 그것이 가지는 길상성과도 관계가 깊다. 카라코像은 중국과 한국을 비롯한 동아시아에서 童子의 형상이 상징하는 바와 같이 多男, 多福 등의 길상적 의미로 받아들여진다. 특히 多子多福, 立身出世, 壽福康寧을 상징하며 吉慶의 의미를 담은 제재로써 활용되었다. 이렇게 사람들의 현실적인 소망을 상징하면서 다양하게 활용된 카라코像은 놀이 장면과 교육 장면, 母子像의 형태로 빈번하게 나타났다. 놀이 장면에 나타난 카라코像은 소재적 측면에서 카라코아소비(唐子遊び)와 금기서화(琴棋書畵)로 나누어볼 수 있다. 카라코아소비는 카라코와 놀이가 결합된 것을 의미하는데, 즐겁게 노는 카라코의 모습은 경사스러운 대상으로 받아들여졌고 이것은 어린이를 노는 존재로서 파악하고 이해하는데 영향을 주었다. 한편 중국에서 문인 취향의 취미를 보여주는 대표적인 제재로 활용된 금기서화는 카라코아소비 그림(唐子遊び&#22259;)과 遊女 그림(遊女&#22259;)에서 자주 나타난다. 교육 장면에 나타난 카라코像은 한 곳에 모여 글씨를 쓰거나 공부하는 모습으로 스승과 제자가 1대1로 가르치고 배우는 중세 사회의 개별교육과는 확연히 다른 것이다. 이것은 도쿠가와 막부가 성립된 이래 사회가 안정되고 사람들의 경제력과 교양이 높아지면서 자녀 교육에 대한 관심이 커지고, 교육이 급속히 보급된 당시의 상황을 반영한 것이다. 母子像의 형태로 나타난 카라코像은 가냘픈 소녀 같은 어머니와 조합되어있는 사내아이의 모습으로 중국 회화의 영향이 많이 보인다. 하지만 어머니의 육아 장면이나 애정 표현이 드물게 나타나는 중국 母子像과는 달리 에도 시대 회화에는 자식에 대한 애정으로 가득한 어머니의 모습이 일상생활 장면에 드러나고 있다. 또한 에도 후기가 되면서 母子 그림은 구도나 화제에서는 중국 회화와 유사한 표현이 있어도 화풍에서는 우키요에(浮世&#32117;)만의 독특한 스타일인 오오쿠비에(大首&#32117;)로 제작되었다. 카라코像은 에도 시대의 회화를 비롯한 예술의 각 영역에서 다양하게 나타나며, 문학의 제재로도 활용되었다. 이러한 카라코像은 중국 童子像과의 연관성을 시사하는 동시에 일본 중세와 근세 사회의 어린이像과 어린이관의 변화를 밝혀낼 수 있는 중요한 키워드라 할 수 있다.