| Project/Area Number |
12610069
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Fine art history
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| Research Institution | National Research Institute for Cultural Properties, Tokyo |
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Principal Investigator |
IDE Seinosuke National Research Institute for Cultural Properties, Tokyo, Archives Section, Head, 情報調整室, 室長 (30168330)
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| Co-Investigator(Kenkyū-buntansha) |
ITAKURA Masaaki University of Tokyo, Institute of Oriental Culture, Associate Professor, 東洋文化研究所, 助教授 (00242074)
MIYAZAKI Noriko Jissen Women University, Faculty of Humanities, Professor, 文学部, 教授 (20135601)
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| Project Period (FY) |
2000 – 2002
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| Project Status |
Completed (Fiscal Year 2002)
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| Budget Amount *help |
¥1,900,000 (Direct Cost: ¥1,900,000)
Fiscal Year 2002: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 2001: ¥1,200,000 (Direct Cost: ¥1,200,000)
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| Keywords | Song-Yuan Buddhist Painting / Goryeo Buddhist Painting / Kundaikansauchoki / Ninbo Buddhist Paiting / Hanzhow Buddhist Painting / 寧波仏画 / 天台宗 / 水陸会 / 抗州 / 寧波 / 舶載仏画 / 大徳寺五百羅漢図 / 水陸道場 / 色料 / 画師の社会的位相 / 船載仏画 / 南宋仏画 / 杭州 |
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| Research Abstract |
A great number of full-color Buddhist paintings exist in Japan which were brought to Japan from the Asian continent in Japan's medieval and later periods as either Tang paintings or Song paintings, and these works have been evaluated as the work of Chinese painters. The great majority of these works consist of the group of narrowly defined Ningbo Buddhist paintings which are recorded as having been produced by the painters of Ningbo, Zhejian province, China, and the great number of Korean Goryeo dynasty Buddhist paintings. But some of these Chinese Buddhist paintings cannot be categorized under the narrow definition of the Ningbo paintings, and the nationalities cannot be determined for many works, with debate still out on whether they are the work of China, the Korean Peninsula, or even of Japan itself. Depending on the work, some have been placed on the edges of the mainstream of Chinese painting history, or there have been cases where this positioning was canceled, and they have bee
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n assigned other nationalities.
Originally the process of considering the identity of each individual art object was not synonymous with asking the painting's nationality. A discussion of "East Asian art history" which neglects a consideration of the social and cultural contexts occurring in the specific region and time and their role in the formation of the identity of each individual art object, a form of history which firmly stamps the national labels of China, the Korean Peninsula and Japan onto each work's formal characteristics, is contrary to the original intentions of the field and fraught with the danger of eliciting statements which easily reinforce the structure of each nation's own history of art. This does not mean that there has been enough debate on whether or not there is an effective function in the frequent comparison ~between the framework known as Japan or the Korean Peninsula within specific time periods and the framework known as China, which is macro in breadth and not easily contained.
With this awareness of the issues involved, this paper will attempt to search for an effective approach to "East Asian art history" from the stance of research on the Buddhist paintings brought to Japan which have been placed in this "border-line" position. Less
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