| Project/Area Number |
18K00209
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Review Section |
Basic Section 01070:Theory of art practice-related
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| Research Institution | Aichi University of the Arts |
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Principal Investigator |
BANNO Tomohiro 愛知県立芸術大学, 美術学部, 准教授 (00713679)
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| Co-Investigator(Kenkyū-buntansha) |
龍澤 彩 金城学院大学, 文学部, 教授 (00342676)
中神 敬子 京都芸術大学, 芸術学部, 非常勤講師 (10750474)
岩永 てるみ 愛知県立芸術大学, 美術学部, 准教授 (80345347)
高岸 輝 東京大学, 大学院人文社会系研究科(文学部), 准教授 (80416263)
本田 光子 愛知県立芸術大学, 美術学部, 准教授 (80631126)
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| Project Period (FY) |
2018-04-01 – 2022-03-31
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| Project Status |
Completed (Fiscal Year 2021)
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| Budget Amount *help |
¥4,160,000 (Direct Cost: ¥3,200,000、Indirect Cost: ¥960,000)
Fiscal Year 2020: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
Fiscal Year 2019: ¥1,430,000 (Direct Cost: ¥1,100,000、Indirect Cost: ¥330,000)
Fiscal Year 2018: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
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| Keywords | やまと絵屏風 / 雲母地 / みがきつけ / 復元模写 / 中世絵画 / 浜松図屏風 / 日月山水図屏風 / 光輝表現 / やまと絵 / 絵画技法 / 復元 / 室町時代やまと絵屏風 / 金磨き付け / 技法復元 |
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| Outline of Final Research Achievements |
This study explored the various techniques used in depicting brightness in medieval Yamato-e paintings and reproduced diverse expressions, such as ultramarine mica which is mica mixed with indigo, mica undercoating that has mica mixed with white lead, the technique of overlaying layers of torn gold leaf, and silver leaf applied on a heaped-up base of white chalk.
Significant progress was made in verifying the technique of applying a thick mica undercoating, which was unique to the medieval period, through the restoration of the Hamamatsu painting in the Ishiyamadera Engi Emaki. Using gampi and kozo paper, we created a series of prototypes of "noriji," a technique used in the application of fan paintings, and found a technique suitable for applying a thick mica undercoat to a large screen.
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| Academic Significance and Societal Importance of the Research Achievements |
雲母地や、それを素地とした金銀装飾は近世以降ではまったく姿を消してしまうが、元来のやまと絵が備えていた装飾性は金箔に偏るものではなく、さまざまな素材が光り輝く屏風であったことが窺い知れる。本研究ではやまと絵屏風の光輝表現技法の可能性の一端を示したに過ぎないが、雲母地だけで捉えても決して一様ではない中世やまと絵屏風の豊かな表現技法について理解する上で、技法や糊地の検討はその足掛かりの一つになり得るのではと考える。
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