| Project/Area Number |
60510034
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| Research Category |
Grant-in-Aid for General Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Research Field |
Fine art history
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| Research Institution | TEZUKAYAMA GAKUIN UNIVERSITY |
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Principal Investigator |
OTA Takahiko TEZUKAYAMA GAKUIN UNIVERSITY, 文学部, 助教授 (70098169)
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| Co-Investigator(Kenkyū-buntansha) |
YOSHIDA Yuji TEZUKAYAMA GAKUIN UNIVERSITY, 文学部, 教授 (80084028)
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| Project Period (FY) |
1985 – 1986
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| Project Status |
Completed (Fiscal Year 1986)
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| Budget Amount *help |
¥1,700,000 (Direct Cost: ¥1,700,000)
Fiscal Year 1986: ¥400,000 (Direct Cost: ¥400,000)
Fiscal Year 1985: ¥1,300,000 (Direct Cost: ¥1,300,000)
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| Keywords | Shigajiku / Hitsuyo / the changes of Zenists' views of painting / didicatory deeds / Kondasobyoengi-emaki / 雲母地 / 漢画 / やまと絵 |
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| Research Abstract |
Painters make their own pictures following their forerunner's works as examples. But painters in the Muromachi period were rather conditioned by commission or request of people outside the artistic world. For their activities activities were closely related with Ashikaga Shogun (the military ruler at that time) and Zen Monks. In this treatise I well propose that the relationships of painters' activities with the society of this period depended much on Zen Monks or Shogun circle. For example, the Shigajiku (a hanging screen painting with poems) emerged from the frindly relationships of painters with Zenists. And "Hitsuyo" was not only executed by some participants rather than painters, namely Shogun,Bushi and so on, but also they decided their motifs, handling and composition by means of their discussions. Painters only represented images or fantasies in the mind of Zenists, but did not depict real natural landscape. So their activities were much influenced by the views of paintings of monks and Shogun. Therefore it is important for us to understand ideas of such high-ranking people. For that purpose firstly I have considered how the changes of paintings reflected the changes of Zenists' views of painting by comparing works on some subject or other with each other. Secondly I have considered how didicatory deeds to shrines or temples of Shogun had influence on the execution of painting, by examining Kondasobyoengi-emaki and Jingu-kogo -engiemaki as instances. As a result of my investigation that it was the leadership of "Doboshu" (a kind of courtier), who served the Shogun, although they were not painters, which made the most powerful effect on the execution of painting.
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