Integrated research of the Sumiyoshi school: Relationship with trends in the Edo-era yamato-e
| Project/Area Number |
15K16656
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| Research Category |
Grant-in-Aid for Young Scientists (B)
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| Allocation Type | Multi-year Fund |
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| Research Field |
Fine art history
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| Research Institution | The Museum Yamato Bunkakan |
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Principal Investigator |
Miyazaki Momo 公益財団法人大和文華館, その他部局等, 学芸部係長 (10416266)
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| Project Period (FY) |
2015-04-01 – 2019-03-31
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| Project Status |
Completed (Fiscal Year 2018)
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| Budget Amount *help |
¥3,900,000 (Direct Cost: ¥3,000,000、Indirect Cost: ¥900,000)
Fiscal Year 2018: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2017: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2016: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2015: ¥1,300,000 (Direct Cost: ¥1,000,000、Indirect Cost: ¥300,000)
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| Keywords | 住吉派 / やまと絵 / 江戸絵画史 / 江戸絵画 / 美術史 / 近世絵画史 |
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| Outline of Final Research Achievements |
The Sumiyoshi school, which was active through its exponent painters patronized by the shogunate in the Edo era, is critical in the study of the trends of Edo-era yamato-e. However, research past the first and second heads of the school, Jokei and Gukei, who were active in the early Edo era, is scarce. In this research, I have first conducted a survey of the works of the successive family heads, research on whom is lagging, from the mid-Edo era to the late Edo era (third head: Hiroyasu, fourth head: Hiromori, fifth head: Hiroyuki, sixth head: Hironao, seventh head: Hirotsura, and eighth head: Hirokata), and indicated characteristics in their painting styles. Then, I widened the survey to include painters on the periphery of the Sumiyoshi school; specifically showed how the expression methods and subjects, which were the specialty of the Sumiyoshi school, spread; and specifically clarified mutual influences between painters of the Sumiyoshi school and other schools of that era.
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| Academic Significance and Societal Importance of the Research Achievements |
本研究の学術的意義としては特に以下の三点が挙げられる。一つ目はこれまで殆ど研究が進められていなかった如慶・具慶以降の住吉家当主たちの画風を明確に捉えることができた点である。二つ目は、住吉派の表現方法や画題の広がりを具体的に明らかにできた点である。三つ目は、やまと絵復興運動が盛んになった江戸時代後期における住吉派と他派の絵師たちの影響関係の一端を明らかにすることができた点である。
これらの研究成果はシンポジウムや研究雑誌にて公開し、江戸時代のやまと絵を考える上で重要な住吉派に関する理解を深めることができた。
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Report
(5 results)
Research Products
(5 results)
