2022 Fiscal Year Final Research Report

A Comprehensive Research of Religious Paintings in the Muromachi Period from the Religious Policy of the Ashikaga Shogunate

Research Project

PDF

Project/Area Number	19H01218
Research Category	Grant-in-Aid for Scientific Research (B)
Allocation Type	Single-year Grants
Section	一般
Review Section	Basic Section 01060:History of arts-related
Research Institution	Kyushu National Museum
Principal Investigator	HATA Yasunori 独立行政法人国立文化財機構九州国立博物館, 学芸部文化財課, 主任研究員 (80302066)
Co-Investigator(Kenkyū-buntansha)	古川攝一独立行政法人国立文化財機構東京国立博物館, 学芸研究部, 研究員 (70463297) 森實久美子独立行政法人国立文化財機構九州国立博物館, 学芸部文化財課, 室長 (70567031) 鷲頭桂独立行政法人国立文化財機構九州国立博物館, 学芸部博物館科学課, 主任研究員 (90590448) 井戸美里京都工芸繊維大学, デザイン・建築学系, 准教授 (90704510)
Project Period (FY)	2019-04-01 – 2022-03-31
Keywords	顕密絵画 / 禅宗絵画 / 神道絵画 / 室町水墨画 / 室町絵巻
Outline of Final Research Achievements	Religious art of Buddhism and Shinto has been a cornerstone of Japanese art since ancient times. However, there is few research on Muromachi religious art. However, Muromachi culture has the important significance of being passed down to the present day as a model of Japanese culture. At that time, the Ashikaga shogunate, with the power of politics, created new religious ceremonies for the Bushi warrior, and also acted as a proxy for the national religious ceremony to be performed by the imperial family. In this way, the Ashikaga family have distinct characteristics to be widely responsible for the religious culture of both the Kuge court nobles and the Bushi warrior. Therefore, in this research, we will study the historical significance of Buddhist and Shinto paintings of the Muromachi period from the perspective of their relationship with the Ashikaga shogunate, who had a variety of religious art produced under a comprehensive religious policy.
Free Research Field	美術史
Academic Significance and Societal Importance of the Research Achievements	室町時代・15世紀前半は、足利将軍家が文化のジャンルを再編し、床の間の座敷飾りや茶道、華道など、主に禅宗の仏教文化をベースとしながら、今日まで受け継がれる日本文化の原型を形成した極めて重要な時期である。そのため美術史の立場から、宗教美術に注目して日本文化の展開を包括的に論述する研究が必要不可欠である。この問題意識のもと遂行される本研究は、「水墨画」や「やまと絵」という既成の分野の枠組みを横断する広がりをもつため、室町絵画を統一的に考察するための重要な学術的意思をもつ。その分析を通じて、本研究は室町絵画の新たな言説の獲得と再評価を目指すものである。