Basic Research on Theory of Chinese Calligraphy and Painting in the Late Ming Dynasty: Focus on the Transition of Dong Qichang's Theory
| Project/Area Number |
25770052
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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 | Yasuda Women's University |
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Principal Investigator |
OGAWA Akiho 安田女子大学, 文学部, 助教 (20630908)
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| Project Period (FY) |
2013-04-01 – 2016-03-31
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| Project Status |
Completed (Fiscal Year 2015)
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| Budget Amount *help |
¥1,950,000 (Direct Cost: ¥1,500,000、Indirect Cost: ¥450,000)
Fiscal Year 2015: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2014: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2013: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
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| Keywords | 董其昌 / 書論 / 画論 / 明末 / 題跋 / 法帖 / 顔真卿 / 楊凝式 / 米ﾌﾂ / 中国 |
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| Outline of Final Research Achievements |
This study illustrates the development of Dong Qichang (1555-1636) 's calligraphy theory, through an analysis of publications by himself and others in the late Ming dynasty.
In the course of collecting works produced by others and his own, and publishing copybook printed from the works of old masters, the theory of Dong Qichang had gradually changed, though he consistently paid attention to the expressive brush force, characteristic in the clerical script. This attitude, which focused on the expressive brush force of works whether it was written in the clerical script or in the regular script, can be seen also in his remark referring to the works faking Mi Fu, and in the "Bijue" by Feng Fang, housed in the Kampo Museum. This particular point of view disappeared after the early Qing dynasty, thus emphasizing its significance.
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Report
(4 results)
Research Products
(9 results)
