| Project/Area Number |
15K02149
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Fine art history
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| Research Institution | Japan Women's University |
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Principal Investigator |
KOMOTO Mari 日本女子大学, 人間社会学部, 教授 (10454539)
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| Project Period (FY) |
2015-04-01 – 2018-03-31
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| Project Status |
Completed (Fiscal Year 2017)
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| Budget Amount *help |
¥2,730,000 (Direct Cost: ¥2,100,000、Indirect Cost: ¥630,000)
Fiscal Year 2017: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2016: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2015: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
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| Keywords | コラージュ / 服飾 / ジェンダー / ソニア・ドローネー / ミリアム・シャピロ / アンリ・マティス / 金銀襴緞子等縫合胴服 / 西本願寺本三十六人家集 / パウル・クレー |
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| Outline of Final Research Achievements |
This study is based on a large comparison between different“decorative fields”: 1) Japanese patchwork kimonos (dofuku used by Uesgi Kenshin, Buddhist monastic patchwork robes [hunzoe or kasaya], children’s patchwork kimonos [hyakutoko-kimono]), 2) East Asian patchworks (kasaya in the Tang period excavated at the Qian Fo Dong, Dunhuang [British Museum], and Korean patchwork cloths), and 3) Western collages (Couverture de berceau and robe simultanee of Sonia Delaunay, Anatomy of a Kimono of Miriam Schapiro, and the chasubles designed by Henri Matisse).
Such a comparative approach clarifies common denominators as well as differences between these artefacts and sheds light on the specificity of the Japanese principle of junction (tsugi).
An important aspect of our study is arguing collage and craft particularly from a gender viewpoint.
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