| Research Abstract |
The greatest problem in the study of Japanese painting is the narrowness of our sphere of research due to the lack of actual art object. In addition, research results are not always precise or reliable because many forgeries are mixed in among existing artworks. As one aspect of my research, by studying 250, 000 photographs published in auction catalogues, which include artworks that were destroyed in the war or exported overseas, I have been working toward grasping the history of Japanese painting as a totality, which up until now has not been completely understood. Moreover, I have been continuing my research in analyzing and comparing signatures and seals in order to judge the authenticity of artworks, and have succeeded in establishing an objective research method to determine authenticity. According to this method, by analyzing changes in seal stone impressions and in the configuration of brushwork in signatures, it is possible to determine the year of execution for undated artworks. Furthermore, in the case of artworks not bearing signatures or seals, I have established methods to determine the artist or school by analyzing the type and style accuracy in art historical research, as well as to form a basis for research on Japanese cultural history, I have broadened my investigation to include not only artworks, but also the social conditions, culture, thought, communication, and economic condition during the age in which these artworks were created. By examining the period and social background of artists , I have been able to explore in depth their conceptions toward creating artworks. Concerning individual artists, I have continued my research on Maruyama Okyo, Yosa Buson, and Sesshu Toyo, periodically presenting my conclusions through papers and publications.
|
