デジタル大観図録

55/98

（未完本）について55In Nihonga painting, revisions are difficult to make, so meticulous preliminary sketches are required. But Taikan felt that “paintings lose their vitality” with this method, and for that reason he took on the challenge of producing finished works without relying on sketches. As a result, it quite often happened that his concept changed during the creation process and he started again from the beginning. Thus, many “unfinished” pieces were produced in the process leading to a finished painting. Nearly all of these unfinished pieces were burned by Taikan, but some were left in the Taikan residence storehouse. At this museum we present these works in simple mounted formats, as we believe they are valuable both as keys to a deeper knowledge of changes in Taikan’s ideas and as documents that directly communicate his creative drive in the painting process.　描き直しが難しい日本画は、綿密な下絵を必要とする。しかし大観は「絵に勢いがなくなる」という理由から、下絵にのっとって制作することをせずに本番の制作に挑んだ。そのため、制作の途中で構想が変わって最初から描きなおすことも少なくなく、完成にいたるまでの過程で多くの「未完本」が生じることがあった。ほとんどの未完本は大観自身の手で焼却処分されたが、一部大観邸の蔵に残されていた。当館ではそれらを、大観の構想の変化を知る手がかりになるものとして、また制作における大観の創作意欲が直に伝わってくるものとして貴重であると考え、簡易表装し展示紹介している。