In a peaceful village hidden from the outside world, where a fisherman is lost in thought... This is the theme of the porcelain painting "Peonies in Full Bloom at the Source of the Peach Blossom Spring" by Tōen Ming. The story unfolds from right to left, with the backdrop of a mountain range with caves and odd-shaped rocks. On the right side of the screen, you can see a boat abandoned near the cave entrance. The fisherman who disembarks from the boat passes through the central, strange-shaped mountain range, and becomes lost in the scene on the left side of the screen. In the peaceful scene of continuous blooming peonies, there are depictions of a farmer and cattle on a field path, a fisherman, hens, and dogs. In the middle and lower parts of the field path, the main character, the fisherman, is welcomed by the villagers. This is why we call such an ideal place "Peach Blossom Village." The author Fukuda Han'ko (Fukuda Half-Hang) was active in the late Edo period. He was influenced by Chinese culture and was one of the painters who adopted the style of Southern Song painting, which is also called Nanshūga, during the Ming and Qing dynasties. The theme of Peach Blossom Village was beloved by the literati of the late Edo period.
外界から隔絶した桃の花咲き続く豊かな村に漁師が迷い込み…という陶淵明『桃花源記』が主題。物語は右から左へ展開、洞窟の入口と奇岩と峩々@がが@たる山並みのあと、良田に牧童と牛、美池に釣人、鶏や犬など、桃源郷の平和な光景が広がる。渡辺崋山の高弟、半香の代表作。（金井氏執筆）（170425_h07） 桃源郷（とうげんきょう）という言葉をお聞きになったことはあるでしょうか。理想郷とか、ユートピア、楽園といったイメージのある言葉ですが、まさにこの絵には桃源郷が描かれています。 これは陶淵明（とうえんめい）の書いた『桃花源記（とうかげんき）』という中国の物語をテーマにした作品です。セットになったふたつの屏風のうち、右から左へと物語は進みます。右側の屏風の右下、洞窟の入り口に、乗り捨てられた舟が見えるでしょうか。舟を降りた漁師は、洞窟に沿って中央の奇妙な形の岩々の山並みを通り抜け、左側の屏風の人里に迷い込みます。満開の桃の花の続く平和な景色の中には、田んぼのあぜ道を歩む牧童と牛、釣り人、鶏や犬などが描かれています。中央やや下、田んぼのあぜ道では、主人公の漁師が里人に歓迎されています。この物語から、理想郷のことをさして「桃源郷」と呼ぶのですね。 作者の福田半香（ふくだはんこう）は、江戸時代後期に活躍しました。中国文化に憧れ、明や清時代の、南宗画（なんしゅうが）とよばれたスタイルの絵画に影響をうけた画家の一人です。半香ら江戸後期の文人たちに好まれたのが、この桃源郷という主題です。 ぜひ、主人公になりきって、舟を降り、道を辿り、淡い色彩と細かなタッチで描き込まれた桃源郷に遊んでみてください。俗世に戻りたくなくなるかもしれませんね。
View the original at Japan Search →It protects not the buildings but the setting that holds them. Article 2 defines historic landscape as land where structures and remains of historical significance form a single whole with the surrounding natural environment, which is the legal way of saying the hills, the approaches and the sightlines. The ancient capitals are Kyoto, Nara and Kamakura, plus any other municipality added by Cabinet Order. The Minister of Land, Infrastructure, Transport and Tourism designates a preservation area; city planning then carves a Special Preservation District over its core, and inside that district an owner needs permission from the prefectural governor to build, to fell timber, or to change the shape of the ground.
The cool part. It legislates the view, and then it pays for it. Article 10 requires the prefecture to compensate an owner who suffers loss because permission was refused. Article 12 goes further: where refusal seriously impairs the use of the land, the owner can require the prefecture to buy it, at market value. So the state does not merely tell you what the horizon behind a temple may look like. It agrees to purchase the land rather than let the skyline change. Two more things worth knowing. The prefecture must physically sign the district boundary, and a landowner may not obstruct the sign without just cause. And the ministry holding the pen is Transport, not Culture.
Verify at e-Gov 法令検索 →Use it A motif small enough to blind-deboss, which is where restraint actually shows.
Description source: museum curator text, translated — not generated