2013 Fiscal Year Final Research Report
Multifaceted Identity of Buddhist Painting of the Southern Song Period: From Perspective of Capital and Region, and of East Asia
| Project/Area Number |
23320033
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| Research Category |
Grant-in-Aid for Scientific Research (B)
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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 | Kyushu University |
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Principal Investigator |
IDE Seinosuke 九州大学, 人文科学研究科(研究院), 教授 (30168330)
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| Co-Investigator(Kenkyū-buntansha) |
ITAKURA Masaaki 東京大学, 東洋文化研究所, 教授 (00242074)
TANIGUCHI Kosei 独立行政法人国立文化財機構奈良国立博物館, 保存修理指導室長 (80343002)
TSUKAMOTO Maromitsu 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 (00416265)
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| Project Period (FY) |
2011-04-01 – 2014-03-31
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| Keywords | 南宋仏画 / 中国 / 周縁 / 中央 / 地方 / 杭州仏画 / 大徳寺伝来五百羅漢図 / 寧波仏画 |
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| Research Abstract |
Considering the original place of Southern Song paintings in Buddhist subject is actually very important to elucidate what from an immense background of China, Korea and Japan deprived of, and also to understand Korean or Japanese filter of adoption. By proposing a conceptual model for their production background in Hangzhou which has been ignored in the perspective of the Southern Song painting history until today, the study clarified their importance and multifaceted appearances. Even if the paintings have its origin from Ningbo, how could they have relations to the central canonical visual forms? In this case, we also need to consider their prototypes in Hangzhou which could have more direct interactions with the Imperial Painting Academy. To discuss about their production origin, inevitably conducted us to reconstruction of the new perspective of the history of the paintings of the Southern Song Period and East Asia.
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[Book] 大徳寺伝来五百羅漢図2014
Author(s)
谷口耕生, 井手誠之輔, 北澤菜月 , 原瑛莉子, 近藤一成, 城野誠治執筆(奈良国立博物館・ 東京文化財研究所編)
Total Pages
312
Publisher
思文閣出版
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