展覧会概要
Exhibition information
画家水津達大の新作個展「蹤跡（しょうせき）」が、京都市東山区の名刹圓徳院で開催される。2025（令和7）年の春の特別拝観のための特別展示である。
圓徳院は、臨済宗建仁寺派の高台寺の塔頭である。高台寺は、豊臣秀吉の正室である北政所ねねが夫の菩提を弔うために1606（慶長11）年に開創した。ねねが高台寺に通うために山内に移築して居住した伏見城の化粧御殿が、ねね没後の1632（寛永9）年に禅宗寺院に改められ圓徳院となった。方丈に祀られる本尊は、釈迦如来。北書院の北庭は賢庭と小堀遠州の作と伝わり、桃山時代の枯山水の代表作で国指定名勝庭園である。
晩年の秀吉は、御用絵師の家系である狩野派よりも新進の長谷川等伯を重用した。そこには、腕一本で立身出世した等伯への共感と期待があったであろう。そうした縁で、1589（天正17）年に等伯が大徳寺の塔頭・三玄院の住職の留守中に一気呵成に描き上げたとされる《山水図》が圓徳院に伝わっている（重要文化財。現在の展示は「綴プロジェクト」による複製）。白い桐紋を降りしきる雪に見立てたこの襖絵は、日本の伝統的な自然観を反映するものであり、おそらく禅の心と通じている。
ねねの甥が、木下勝俊である。1600（慶長5）年の関ヶ原の戦いの前哨戦で戦闘を避けた責を負い、後に出家して「長嘯子」と号し、高台寺近隣に隠棲して風雅の生活を送った。歌人としては、西行と松尾芭蕉を繋ぐ位置にある。現在、圓徳院境内には勝俊を祀る歌仙堂がある。
今回、水津は圓徳院の文化的・芸術的伝統に基づき、「Khora（コーラ）」という新作の絵画シリーズを展覧する。この連作は、対象を描くのではなく無心になる過程を示すものであり、禅の目指す境地や日本文芸の風雅の伝統と呼応している。「蹤跡」とは、悟りあるいは解脱に至る過程の謂いである。
圓徳院は、臨済宗建仁寺派の高台寺の塔頭である。高台寺は、豊臣秀吉の正室である北政所ねねが夫の菩提を弔うために1606（慶長11）年に開創した。ねねが高台寺に通うために山内に移築して居住した伏見城の化粧御殿が、ねね没後の1632（寛永9）年に禅宗寺院に改められ圓徳院となった。方丈に祀られる本尊は、釈迦如来。北書院の北庭は賢庭と小堀遠州の作と伝わり、桃山時代の枯山水の代表作で国指定名勝庭園である。
晩年の秀吉は、御用絵師の家系である狩野派よりも新進の長谷川等伯を重用した。そこには、腕一本で立身出世した等伯への共感と期待があったであろう。そうした縁で、1589（天正17）年に等伯が大徳寺の塔頭・三玄院の住職の留守中に一気呵成に描き上げたとされる《山水図》が圓徳院に伝わっている（重要文化財。現在の展示は「綴プロジェクト」による複製）。白い桐紋を降りしきる雪に見立てたこの襖絵は、日本の伝統的な自然観を反映するものであり、おそらく禅の心と通じている。
ねねの甥が、木下勝俊である。1600（慶長5）年の関ヶ原の戦いの前哨戦で戦闘を避けた責を負い、後に出家して「長嘯子」と号し、高台寺近隣に隠棲して風雅の生活を送った。歌人としては、西行と松尾芭蕉を繋ぐ位置にある。現在、圓徳院境内には勝俊を祀る歌仙堂がある。
今回、水津は圓徳院の文化的・芸術的伝統に基づき、「Khora（コーラ）」という新作の絵画シリーズを展覧する。この連作は、対象を描くのではなく無心になる過程を示すものであり、禅の目指す境地や日本文芸の風雅の伝統と呼応している。「蹤跡」とは、悟りあるいは解脱に至る過程の謂いである。
企画監修 秋丸 知貴（美術評論家）
A solo exhibition of new works by the painter Tatsuhiro Suizu, titled Traces (Shōseki), will be held at Entoku-in, a historic temple in Higashiyama, Kyoto. This special exhibition is part of the temple’s Spring 2025 (Reiwa 7) Special Viewing program.
Entoku-in is a sub-temple of Kōdai-ji, which belongs to the Rinzai sect’s Kennin-ji school. Kōdai-ji was established in 1606 (Keichō 11) by Kita-no-Mandokoro Nene, the wife of Toyotomi Hideyoshi, to pray for her late husband’s soul. The Keshō Goten (cosmetic palace) of Fushimi Castle, which she had moved to the temple grounds for her own residence, was later converted into a Zen temple in 1632 (Kan’ei 9) after her passing, becoming Entoku-in. The temple’s main hall enshrines Shakyamuni Buddha as its principal deity. The North Garden of the Northern Shoin, attributed to Kenchō and Kobori Enshū, is a celebrated Momoyama-period dry landscape garden and is designated a National Scenic Site.
In his later years, Toyotomi Hideyoshi increasingly favored Hasegawa Tōhaku over the established Kano school painters. This preference likely stemmed from his admiration and high expectations for Tōhaku, who rose to prominence solely through his talent. Due to this connection, Entoku-in holds Tōhaku’s Landscape Screens (Sansuizu), which he is said to have completed in a single burst of inspiration at Sangen-in, a sub-temple of Daitoku-ji, in 1589 (Tenshō 17) while the chief priest was away. This work, designated as an Important Cultural Property, is currently exhibited in a replicated form through the "Tsuzuri Project." These sliding door paintings, which depict the white paulownia crest as if it were falling snow, reflect traditional Japanese views of nature and likely resonate with Zen philosophy.
Kinoshita Katsutoshi, a nephew of Nene, played a crucial cultural role. In 1600 (Keichō 5), he avoided combat in prelude to the Battle of Sekigahara, leading to his eventual retreat from political life. He later took Buddhist vows, adopting the name Chōshōshi, and lived a refined, reclusive life near Kōdai-ji. As a poet, he bridged the literary traditions of Saigyō and Matsuo Bashō. Today, Entoku-in’s precincts house the Kasendō, a hall dedicated to him.
For this exhibition, Suizu presents his new painting series "Khora", inspired by Entoku-in’s rich cultural and artistic traditions. Rather than depicting specific subjects, these works capture the process of emptying the mind, aligning with the Zen ideal of detachment and the Japanese literary tradition of aesthetic refinement. The title Traces (Shōseki) refers to the path toward enlightenment or liberation.
Entoku-in is a sub-temple of Kōdai-ji, which belongs to the Rinzai sect’s Kennin-ji school. Kōdai-ji was established in 1606 (Keichō 11) by Kita-no-Mandokoro Nene, the wife of Toyotomi Hideyoshi, to pray for her late husband’s soul. The Keshō Goten (cosmetic palace) of Fushimi Castle, which she had moved to the temple grounds for her own residence, was later converted into a Zen temple in 1632 (Kan’ei 9) after her passing, becoming Entoku-in. The temple’s main hall enshrines Shakyamuni Buddha as its principal deity. The North Garden of the Northern Shoin, attributed to Kenchō and Kobori Enshū, is a celebrated Momoyama-period dry landscape garden and is designated a National Scenic Site.
In his later years, Toyotomi Hideyoshi increasingly favored Hasegawa Tōhaku over the established Kano school painters. This preference likely stemmed from his admiration and high expectations for Tōhaku, who rose to prominence solely through his talent. Due to this connection, Entoku-in holds Tōhaku’s Landscape Screens (Sansuizu), which he is said to have completed in a single burst of inspiration at Sangen-in, a sub-temple of Daitoku-ji, in 1589 (Tenshō 17) while the chief priest was away. This work, designated as an Important Cultural Property, is currently exhibited in a replicated form through the "Tsuzuri Project." These sliding door paintings, which depict the white paulownia crest as if it were falling snow, reflect traditional Japanese views of nature and likely resonate with Zen philosophy.
Kinoshita Katsutoshi, a nephew of Nene, played a crucial cultural role. In 1600 (Keichō 5), he avoided combat in prelude to the Battle of Sekigahara, leading to his eventual retreat from political life. He later took Buddhist vows, adopting the name Chōshōshi, and lived a refined, reclusive life near Kōdai-ji. As a poet, he bridged the literary traditions of Saigyō and Matsuo Bashō. Today, Entoku-in’s precincts house the Kasendō, a hall dedicated to him.
For this exhibition, Suizu presents his new painting series "Khora", inspired by Entoku-in’s rich cultural and artistic traditions. Rather than depicting specific subjects, these works capture the process of emptying the mind, aligning with the Zen ideal of detachment and the Japanese literary tradition of aesthetic refinement. The title Traces (Shōseki) refers to the path toward enlightenment or liberation.
Curated and Supervised by:
Tomoki Akimaru (Art Critic)
作家略歴
Artist
1987年広島県生まれ。2013年東京藝術大学大学院美術研究科絵画専攻修士課程日本画修了。「国宝 伴大納言絵巻」模写事業に参加(2013)。大峯奥駈修行満行(2016、2018)。近年の主な展示に「曾遊」(日本橋三越本店、2022)、「日本画の棲み家」(泉屋博古館東京、2023)、「第9回東山魁夷記念日経日本画大賞展」(上野の森美術館、2024)。
Born in Hiroshima, Japan, in 1987.
M.F.A. in Japanese Painting, Tokyo University of the Arts (2013).
Selected Exhibitions:
"Former visit", Nihombashi Mitsukoshi Main Store, 2022, "The 9th Higashiyama Kaii Memorial Nikkei Nihonga Award", The Ueno Royal Museum, 2024, "The "Habitats" of Modern Japanese Paintings", Sen-oku Hakukokan Museum Tokyo, 2023
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