| Project/Area Number |
15K16660
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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 |
Art at large
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| Research Institution | Kyoto Institute of Technology |
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Principal Investigator |
IDO MISATO 京都工芸繊維大学, デザイン・建築学系, 講師 (90704510)
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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 |
¥3,770,000 (Direct Cost: ¥2,900,000、Indirect Cost: ¥870,000)
Fiscal Year 2018: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2017: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2016: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
Fiscal Year 2015: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
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| Keywords | 屏風 / 和歌 / やまと絵 / 屏風歌 / 名所 / 庭園 / 日本画 / 歴史画 / 花鳥画 / 東京美術学校 / 朝鮮美術 / 東アジア / 歌枕 / 日本美術 / 屏風絵 / 受容史 |
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| Outline of Final Research Achievements |
As Yamato-e (Japanese-style painting) originally emerged as a counterpart of kara-e (Chinese-style painting), it should be noted that there remain quite a few examples of Yamato-e folding screens in Muromachi period. This research specifically focused on the audiences. By examining the extant examples of Yamato-e screen paintings from this era, I argued that the iconography of these later screen paintings was rooted in those of Heian period because they also had a close connection with waka poems. I also suggested that such screen paintings that had poetic connotations could have been executed in the court where the poetical images such as utamakura were repeatedly recited through plethora of poetry matches. Finally, I clarified the function of Yamato-e screen paintings as media that enable the audiences who shared artistic pursuits to interpret the textual connotation and also produce new poetical imagination evoked by the painted image which had reflected layers of textual sources.
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| Academic Significance and Societal Importance of the Research Achievements |
水墨画が興盛していた室町時代において、やまと絵屏風の遺品が少なからず見出されその重要性が指摘されて久しいが、これまでの研究は筆者や様式などを考察するものが多く、その機能や受容の場をめぐっては不明な点が多かった。本研究の意義は、そのような室町時代以降の屏風絵の主題の背景に和歌のテクストが介在していたこと、特に、公家や武家、僧侶らによって繰り返し詠まれ共有されてきた歌枕のイメージの蓄積があったことを指摘した。実景表現とは異なる、過去から継承されてきた和歌のテクストの蓄積を表象するスクリーンとして、さらにそこから新たな言葉の世界を導くというやまと絵屏風の機能の一面を示すことができたと考える。
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