| Project/Area Number |
14201009
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| Research Category |
Grant-in-Aid for Scientific Research (A)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Fine art history
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| Research Institution | Independent Administrative Institution, National Research Institute for Cultural Properties, Tokyo |
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Principal Investigator |
NAKANO Teruo Independent Administrative Institution, National Research Institute for Cultural Properties, Tokyo, Department of Fine Arts, Director, 美術部, 部長 (20124191)
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| Co-Investigator(Kenkyū-buntansha) |
SUZUKI Hiroyuki Tokyo Gakugei University, Art and Sports Science, Professor, 芸術スポーツ科学系, 教授 (00132704)
TANAKA Atsushi Independent Administrative Institution, National Research Institute for Cultural Properties, Tokyo, Modern/Contemporary Art Section, Department of Fine Arts, Head, 美術部・黒田記念近代現美術研究室, 室長 (00163501)
YAMANASHI Emiko Independent Administrative Institution, National Research Institute for Cultural Properties, Tokyo, Archives Section, Head, 情報調整室, 室長 (30170575)
TSUDA Tetsuei Independent Administrative Institution, National Research Institute for Cultural Properties, Tokyo, Trans-Disciplinary Section, Department of Fine Arts, Head, 美術部・広領域研究室, 室長 (00321555)
KATSUKI Gen'ichiro Independent Administrative Institution, National Research Institute for Cultural Properties, Tokyo, Department of Fine Arts, Senior Researcher, 美術部, 主任研究官 (50249918)
大塚 英明 日本大学, 文理学部, 教授 (10102633)
島尾 新 多摩美術大学, 美術学部, 教授 (80170926)
岡田 健 独立行政法人文化財研究所東京文化財研究所, 国際文化財保存修復協力センター・保存計画研究室, 室長 (40194352)
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| Project Period (FY) |
2002 – 2005
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| Project Status |
Completed (Fiscal Year 2005)
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| Budget Amount *help |
¥47,710,000 (Direct Cost: ¥36,700,000、Indirect Cost: ¥11,010,000)
Fiscal Year 2005: ¥7,410,000 (Direct Cost: ¥5,700,000、Indirect Cost: ¥1,710,000)
Fiscal Year 2004: ¥12,090,000 (Direct Cost: ¥9,300,000、Indirect Cost: ¥2,790,000)
Fiscal Year 2003: ¥12,610,000 (Direct Cost: ¥9,700,000、Indirect Cost: ¥2,910,000)
Fiscal Year 2002: ¥15,600,000 (Direct Cost: ¥12,000,000、Indirect Cost: ¥3,600,000)
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| Keywords | movement of object / formation of value / 価値の形成 |
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| Research Abstract |
In recent years, it became clear through the research on formation of "fine arts" and "art history" that the appearance of an "art work" is only one step of history. The art historical research which must have been materialized if it separates from value of objects needs to question again anew about the system of value formation of objects, now when the universality myth of "aesthetic value" collapsed. An "object" has been given various values in history, before serving as an "art work." As a cut end that considers this, the viewpoint of "movement" was set up by this research. Because, while moving, an object's value changes qualitatively and quantitatively, or another value forms, and it urges an object to move again.
This research aimed at analyzing the dynamism of value formation of objects by following movement of objects, and solving the present existence of objects. The basis of the above-mentioned purpose, collection of materials, investigation in and outside, data processing of
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materials, holding of meetings for study, etc. were performed. In the research of pre-modem times, value formation of objects before formation of the art history in modem Japan was gazed at carefully, and it verified concretely what kind of system was there. In the research of modem-contemporary times, while the art history was organized, it asked what kind of value formation system there was in the process. In research of foreign art, various situations of the value formation involving movement of objects that does not remain in Japan were explored. Moreover, it looked for cooperation of researcher for the history of performing art, the history of architect and the archaeology, the situation which the researcher of the history of pictures or the history of sculpture tends to overlook was surfaced by taking the same viewpoint in each field, and it aimed at making the contents of research enhance.
As a result, the importance of the so-called "history of acceptance" and the lightness of a value change became clear irrespective of whether an object is concrete or intangible, whether before or after formation of art history. Moreover, in it, autonomies of those who recite value, and the present existence of the value as a result of accumulation or oblivion of autonomies were also just thrown into relief. Less
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