|Budget Amount *help
¥1,900,000 (Direct Cost : ¥1,900,000)
Fiscal Year 2000 : ¥500,000 (Direct Cost : ¥500,000)
Fiscal Year 1999 : ¥600,000 (Direct Cost : ¥600,000)
Fiscal Year 1998 : ¥800,000 (Direct Cost : ¥800,000)
|Keywords||painting theories / discussions of appreciation / pin-deng, classification / GENJI-MONOGATARI, The Story of Genji / KOKON-CHOMONJU, The Record of Hearsay of Past and Present / KUNDAIKAN-SOCHOKI, The Appreciatory Manual of Ashikaga Shogunate Art Consultants / TOHAKU-GASETSU, The Dialogue on Painting with Tohaku / Tu-hui Bao-jian, Precious Mirror for Examining Painting / 仏日庵公物目録 / 日本絵画 / 中国絵画 / 品第 / 文人 / 優劣 / 流派 / 分類 / 勧戒 / 六法 / 文人画|
This project had a three-year plan. 1998 : The investigation into the literature of chinese painting theories. 1999 : The investigation of Japanese documents about painting in ancient and medieval times. 2000 : Examining the books of painting theories in modern ages, the general report through three years.
In Chapter 1 of the report, to make the basis of painting theories, I attempted to put the literature about chinese painting in order according to the two elemental ideas, 1 : the argument of appreciation (or connoisseurship), 2 : the argument of producing (or painting). The argument 1 is classified into six groups, (1)the discussion of relative merits among the subjects, (2)the classifications of painters, (3)the subject categories (or genres), (4)the painting schools, (5)the catalog of painting, (6)the biography of painters. The argument 2 into five groups, (1)the discussion of encouragement and admonishment in the subject, (2)the Six Laws, (3)the discussion of landscape painting, (4)literati painting, (5)the manual of painting. Those gradually evoluted under the influences of chinese philology in the early days and under that of the living manual of literati after Sung Dynasty.
In Chapter 2, it was studied which kind of argument mentioned above influenced japanese literature on painting. As the result, there proved that 1 : a descriptive limit of real existence was pointed out in the Story of Genji, and that was similar to the idea of Huai-na-zi and Lun-heng, 2 : the kinds of literature like Lidai-minghua-ji were accepted to Kokon-chomonju through the anthology Taiping-guangji, 3 : the style of Kundaikan-sochoki, the document of known uniqueness, was concluded to be the earlier example of the living manual of literati.
Because of a vast quantity of the arguments on literati painting after Kyoho Era, I could not give them my full consideration. From now on, further investigations will be expected to accomplish.