| Budget Amount *help |
¥1,700,000 (Direct Cost: ¥1,700,000)
Fiscal Year 1994: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 1993: ¥1,100,000 (Direct Cost: ¥1,100,000)
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| Research Abstract |
In China from ancient times to the present, motis of auspicious imagery have been used widely in designs on decorative and everyday objects. These designs are surprisingly consistant with subjects of traditonal bird and fower painting. Paintings of birds and flowers are not, therefor, merely photorealistic representations, but couch auspicious meanings in their motifs. This study treats Chinese bird and flower painting from the perspective of their hidden symbolism over the ages.
Many Chinese paintings of Fish in the Duckweed, Waterfowl in Lotus Pond, and Insects in Grass have been passed down over the generations in Japan. Because of their auspicious imagery, such paintings were in high demand and are though to have been continuously produced by professional painters. The reception of their auspicious imagery, however, was limited to direct examples. I trace the auspicious imagery of fish, lotus, waterfowl, and various other plants through an examination of archaeological objects, ceramics, and written historical documents. I also consider the mutual relationship between works by "literati painters" and and professional artists that share motives and double meanings. Using the iconography of bird and flower as a point of reference, instead of taking the standard approach of opposing so- called "literati" and professional painters, I illumimate in concrete terms the reception and transmission of Chinese bird and flower painting.
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