| Project/Area Number |
21520099
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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 |
Aesthetics/Art history
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| Research Institution | Kyoto Institute of Technology |
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Principal Investigator |
NAMIKI Seishi 京都工芸繊維大学, 工芸科学研究科, 教授 (50211446)
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| Project Period (FY) |
2009 – 2011
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| Project Status |
Completed (Fiscal Year 2011)
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| Budget Amount *help |
¥3,640,000 (Direct Cost: ¥2,800,000、Indirect Cost: ¥840,000)
Fiscal Year 2011: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2010: ¥1,690,000 (Direct Cost: ¥1,300,000、Indirect Cost: ¥390,000)
Fiscal Year 2009: ¥1,040,000 (Direct Cost: ¥800,000、Indirect Cost: ¥240,000)
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| Keywords | 美術史 / 障壁画 / 画題 / 狩野派 / 屏風絵 / 韃靼人図 / 中国絵画 |
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| Research Abstract |
I intended to clarify the origin of the paintings of Tartars in Japan and to show how the Japanese painters in 16th and 17th century began to draw "the paintings of Tartars".
As I already discussed in the former paper, the screen paintings of Tartars(Kyuhaku version) formerly was the sliding doors, is the oldest colored Tartars paintings in sliding doors style. One of its characteristics is to include the scene of the procession. Though almost all screen paintings of Tartars are composed with the hunting scene and the polo game, the Kyuhaku version is composed with the hunting scene and the procession.
In conclusion, I think that the Lady Wenji's and the Emperor Huizong's story were the origin of the paintings of Tartars. Moreover, considering these two stories, the presence of the watcher of the hunting scene can be explained.
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