| Project/Area Number |
17K18474
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| Research Category |
Grant-in-Aid for Challenging Research (Exploratory)
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| Allocation Type | Multi-year Fund |
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| Research Field |
Philosophy, Art, and related fields
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| Research Institution | Tsuru University |
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Principal Investigator |
KATO HIROKO 都留文科大学, 文学部, 非常勤講師 (70600063)
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| Co-Investigator(Kenkyū-buntansha) |
吉澤 早苗 東京藝術大学, 美術学部, 講師 (00600719)
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| Project Period (FY) |
2017-06-30 – 2023-03-31
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| Project Status |
Completed (Fiscal Year 2022)
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| Budget Amount *help |
¥5,850,000 (Direct Cost: ¥4,500,000、Indirect Cost: ¥1,350,000)
Fiscal Year 2019: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
Fiscal Year 2018: ¥2,210,000 (Direct Cost: ¥1,700,000、Indirect Cost: ¥510,000)
Fiscal Year 2017: ¥2,080,000 (Direct Cost: ¥1,600,000、Indirect Cost: ¥480,000)
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| Keywords | 日本美術史 / 西洋美術史 / 自然史 / 考古学 / 人類学 / アイヌ / 縄文 / ジャポニスム / 美術史 / 鳥学 / 分類学 / 標本 / 進化思想 / イタリア絵画史 / 鳥類学 |
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| Outline of Final Research Achievements |
Using the basic concepts underlying the two academic fields of 'style' in art history and 'species' in Natural history as a clue, I explored the methods and relationships between Western art history and Natural history, which William Anderson applied to the construction of 'Japanese art history' in the 19th century, at the dawn of modern scholarship. My research into archaeological, anthropological and other Jomon and Ainu research by Japanologists of the time, as well as the results of recent molecular biology, revealed that the biggest problem at present is the description of 'Japanese art history' as centred on wajin and mainland Japanese art, with Jomon art, as represented by Jomon pottery, as the origin of 'Japanese art history'. By pointing out the need to 'de-centre' Japanese art history, I have clarified the methods and direction of future research.
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| Academic Significance and Societal Importance of the Research Achievements |
美術史と自然史、考古学、人類学、民族学など、近代に分化した諸学問との関係から19世紀のジャパノロジスト（外国人日本研究家）による研究を捉え直し、これまで見過ごされていた縄文とアイヌに関する〈日本美術史〉の課題をあきらかにした点に学術的意義がある。また、19世紀から続く単一の〈起源〉への強い関心からシフトして、〈日本美術史〉における〈中心〉と〈周縁〉の関係を問い直したことによって、今後の教育や出版などに注意を喚起し、日本の多文化社会への理解を促進する可能性がある点に、社会的意義があると考える。
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