YAMADA Shunnji YCU Faculty of Humanities and International Studies, Professor, 国際文化学部, 教授 (10244485)
SUZUKI Masao YCU Faculty of Humanities and International Studies, Professor, 国際文化学部, 教授 (30002281)
IMATANI Akira YCU Faculty of Humanities and International Studies, Professor, 国際文化学部, 教授 (60111910)
OBATA Toshiyuki YCU Faculty of Humanities and International Studies, Associate Professor, 国際文化学部, 助教授 (10285158)
FURUKAWA Takahisa YCU Faculty of Humanities and International Studies, Associate Professor, 国際文化学部, 助教授 (70253028)
|Budget Amount *help
¥3,500,000 (Direct Cost : ¥3,500,000)
Fiscal Year 2001 : ¥300,000 (Direct Cost : ¥300,000)
Fiscal Year 2000 : ¥200,000 (Direct Cost : ¥200,000)
Fiscal Year 1999 : ¥500,000 (Direct Cost : ¥500,000)
Fiscal Year 1998 : ¥2,500,000 (Direct Cost : ¥2,500,000)
In his the Sekiya-kan (***) part of Gennji-Monogatari Picture Scroll (******) and Sanyuan (**), Mitani Kuniaki analayzes the Sekiya-kan part of Gennji-Monogatari Picture Scroll to point out the importance of the Chinese artistic technique of Sanyuan employed in the scroll, proving that entire work, as a picture scroll, necessarily depicts the passage of time, destroys the existing frameworks, and tries to establish a world with a complex of viewpoints.
Kako Riichiro has translated a critical essay by Chen Chuan-xi, "Guo Xi's Lin quan gaozhiji (*****)". Chen evaluates Lin quangaozhiji, an eleventh-century book on the theory of landscape paintings including Sanyuan, as an excellent survey of the maturing process of the Chinese landscape art.
Imatani Akira discusses in his on Japanese veiws of foreignness in the Medieval Period, how Japanese in the Medieval Period depicted foreign visitors to Japan, and argues that no tendency to typification had yet appeared and there was a good varaiety i
n their views of foreignness.
Obata Toshiyuki makes a positive assessment of the picture book of study of Confucian classics in the days of Quing dynasty (******) published in China in 1998, which, in his on the practical use of visual media in study of Confucian classics in the days of Qing dynasty, he finds significant in familiarizing us with the world of study of Cofucian classics through the effective use of visual media, such as the portraits of scholars.
Yamada Shunji's perspective drawing and a work of fiction, demonstrates how Ukiyo-doko (***), a work of fiction in the early nineteenth century, utilizes perspective drawing for its frontispiece to help create an impression of its close association with common life.
Suzuki Masao shows, in his the illustrations of Japanese soldier in China, that the illustrations for war literature, written in Japan during the Chinese-Japanese war and translated for publication in China, speak much for the difficulty of mutual understanding between the aggressors and victims.
Furukawa Takahisa, in his a view of China in the Weekly Photographic Magazine (****), points out that attempts were made before the early 1940's to graphically represent Japan's policies, after he reviews the photographs in the news about China published in the Weekly Photographic Magazine, a weekly photographic public relations magazine issued by the Japanese government in the early Showa Period.
All these works successfully combine in interdisciplinary ways to clarify many specific aspects in the history of Chinese and Japanese culture, with an emphasis on the various uses of visual media. Less