2007 Fiscal Year Final Research Report Summary
Appraisal, Estimation and Price of Pictures in Early-Modern Times
| Project/Area Number |
18520104
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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 | Doshisha University |
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Principal Investigator |
OTA Takahiko Doshisha University, Faculty of Letters, Professor (70098169)
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| Project Period (FY) |
2006 – 2007
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| Keywords | Appraisal / Estimation / Price / Inryoken-nichiroku / Tohaku-gasetsu / Kaiki / Tanyu-shukuzu / view of painting |
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| Research Abstract |
The aim of this research is primarily to ask what kind of value did pictures have in early-modern times by clarifying roles of the appraisal, searching for aspects of the estimation and grasping the price. Then, by so doing, I would like to clear up a view of pictures in early modern Japan.
First, to compare with the pictures in early-modern times, I analyzed Inryoken-nichiroku that was the fundamental material in the Muromachi period (1336-1573), in pursuit of an actual situation in the Middle Ages. And then I read roles of the appraisal, aspects of the estimation, ways of the decoration in rooms and prices of the pictures that were done actually in this times.
Second, I analyzed Tohaku-gasetsu that Tohaku Hasegawa (1539-1610) had written, who was the representative painter in the Momoyama period (1586-1603). And I explained that the technical viewpoints were added to that book as new roles of the estimation.
Third, I attempted to analyze chakaiki. As a result, I could confirm that writers of chakaiki did not only appreciate peregrine things as "karamono" adorned their own dignity such as in the Muromachi period, but also appreciated "the works itself". They still regarded ways of mountings as important, but gradually they began to evaluate authors and designs, sometimes styles of brushwork.
In a document in the Edo period, Kaiki, the writer of this book began to regard an appreciation of a "taste" in works as important. A view of pictures like that could be confirmed by the style of Tanyu Kanou (1602-1674). I found a circulation of pictures in Tanyu-shukuzu at that time and explained that there was a correlation between the appreciation and the execution in terms of intention of "elegance".
Furthermore, I grasped the situation of collections in Matsudaira-yamatonokami-nikki and by so doing I revealed that the price of pictures was emphasized in comparison with any other things.
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