| Project/Area Number |
25770071
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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 | Yokohama College of Art and Design |
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Principal Investigator |
Okubo Noriko 横浜美術大学, 美術学部, 助手 (80620252)
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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 |
¥4,030,000 (Direct Cost: ¥3,100,000、Indirect Cost: ¥930,000)
Fiscal Year 2015: ¥1,300,000 (Direct Cost: ¥1,000,000、Indirect Cost: ¥300,000)
Fiscal Year 2014: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
Fiscal Year 2013: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
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| Keywords | 浮世絵 / 相撲絵 / 江戸 / 勧進相撲 / 錦絵 / 勝川派 / 寛政 |
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| Outline of Final Research Achievements |
This study focuses on examnples of surviving sumo-e from the Katsukawa school, and research the processes through which sumo-e from the Tenmei and Kansei eras onwards acqured their distinctive style and form of expression. Katsukawa Shunsho dipicted sumo wrestlers in a realistic manner, and executed his sumo-e in a style quite distinct from his yakusha-e. After Shunsho stoppted composing sumo-e, these objective, nuanced depictions were gradually replaced with more stereotyped forms. From the end of the Tnmei era onwards, two of Shunsho's leading pupils, Shunko and Shun'ei, led production of sumo-e at the school. From the Kansei era onwards, the muscular protrusions of the wrestlers became more exaggerated. However, despite the large number of pictures they produced, there were few signs of originality in either composition or style. Compared with yakusha-e, what was demanded of sumo-e was not a beautiful visage, but the sense of power exuded by a gigantic physique.
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