嵯峨天皇の行幸のために架けられたと伝わる嵐山の渡月橋。そこから北へ広がる嵯峨野路を歩くと、5本の白線がその格式の高さを示す品格を備えた築地塀に囲まれた皇室ゆかりの大覚寺があります。
井堂雅夫にとって通いなれた親しみのある寺で描いたのは、その境内ではなく外堀から勅使門に架けられた橋と新緑の木々を映して光る水の流れでした。
全体に施した「ゴマ摺り」や「ひっかき」と呼ばれる均一ではなく偶然性生かした表現によって豊かなニュアンスが生まれ、画面から木々や水の匂いまで感じるような作品です。
Blog post
Jun. 2026
“ Daikakuji-Tsukijibei ”
Togetsukyo Bridge in Arashiyama is said to have been built for an imperial visit by Emperor Saga. Walking north along the scenic road of Sagano from the bridge, one arrives at Daikaku-ji Temple, a place closely associated with the Imperial Household, surrounded by dignified tsuiji earthen walls distinguished by five white lines that signify its high status.
For Masao Ido, Daikaku-ji was a familiar
temple he visited often. In this work, however, he chose not to depict the
temple grounds themselves, but rather the bridge spanning the outer moat to the
Imperial Messenger's Gate (Chokushimon), along with the flowing water
shimmering with reflections of fresh green foliage.
The work is enriched by the use of
traditional woodblock-printing techniques known as goma-zuri (“sesame printing”) and hikkaki (“scratching”), which embrace chance
effects rather than uniformity. These techniques create subtle variations and
rich nuances, giving the viewer the impression of not only seeing the trees and
water, but even sensing their fragrance.
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