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The historical development of depth representation in the Northern and Southern Dynasties paintings -- in the context of human representation

Research Project

Project/Area Number 15K02151
Research Category

Grant-in-Aid for Scientific Research (C)

Allocation TypeMulti-year Fund
Section一般
Research Field Fine art history
Research InstitutionDoshisha University

Principal Investigator

Kono Michifusa  同志社大学, 文学部, 教授 (90195678)

Research Collaborator NI JINXIU  
WANG WENLEI  
SHIMAMURA KEIKO  
Project Period (FY) 2015-04-01 – 2019-03-31
Project Status Completed (Fiscal Year 2018)
Budget Amount *help
¥4,810,000 (Direct Cost: ¥3,700,000、Indirect Cost: ¥1,110,000)
Fiscal Year 2018: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2017: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
Fiscal Year 2016: ¥1,430,000 (Direct Cost: ¥1,100,000、Indirect Cost: ¥330,000)
Fiscal Year 2015: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
Keywords奥行き表現 / 山水画 / 山水之変 / 壁画 / 畏獣 / 石刻画像 / 山西省 / 魏晋南北朝 / 囲屏 / 棺床 / 北魏 / 北斉 / 墓誌蓋 / 石刻画象
Outline of Final Research Achievements

This research resulted in the following observations : 1) Triangular compositions of both flying monsters and of human groups in Northern Dynasties paintings may have been the earliest mode of expressing depth perspective in Chinese painting. 2) In the Han Dynasty, perspective was attempted by depicting the background in the upper part of the composition, and foreground in the lower part, but in the latter half of the Han period, groups of people and buildings were placed into trapezoid formations. In the Southern and Northern Dynasties, figures in murals were organized into triangles to represent perspective. In the Tang Dynasty, perspective was attempted by depicting a distant object small and a near one large; in addition, this period saw the establishment of a mode of perspective depth expression in which objects are shortened as they near the horizon.

Academic Significance and Societal Importance of the Research Achievements

ヨーロッパ絵画に較べて奥行き表現は未発達、と思われがちな東アジア絵画であるが、中国唐代には透視図法的奥行き表現が完成し、ルネサンス絵画よりも800年ほど早く、体系的奥行き表現が成立していたことを、出土遺品に依拠してその具体的展開を示すことができた。これは、二次元平面に三次元空間をどのように表現すれば自然に感じられるかという、空間認識の心理学、生理学ともかかわるであろう。また芸術的認識が成立するのは近代という見方からは、歴史学の時代区分論における「近代」の、文化における認識や定義にも資する結果ではないかと思われる。

Report

(5 results)
  • 2018 Annual Research Report   Final Research Report ( PDF )
  • 2017 Research-status Report
  • 2016 Research-status Report
  • 2015 Research-status Report
  • Research Products

    (4 results)

All 2018 2016 Other

All Journal Article (2 results) Book (1 results) Remarks (1 results)

  • [Journal Article] 「山水之変」―中国絵画における奥行き表現の古典様式―2016

    • Author(s)
      河野道房
    • Journal Title

      人文学

      Volume: 198 Pages: 73-86

    • NAID

      120006329450

    • Related Report
      2016 Research-status Report
  • [Journal Article] 北斉徐顕秀墓壁画の造形的特徴2016

    • Author(s)
      河野道房
    • Journal Title

      人文学

      Volume: 197 Pages: 1-23

    • Related Report
      2015 Research-status Report
  • [Book] 中国山水画史研究―奥行表現を中心に―2018

    • Author(s)
      河野道房
    • Total Pages
      416
    • Publisher
      中央公論美術出版
    • ISBN
      9784805507995
    • Related Report
      2017 Research-status Report
  • [Remarks] 東アジア美術史研究センター

    • URL

      http://ea-art-history.jp/

    • Related Report
      2018 Annual Research Report 2017 Research-status Report 2016 Research-status Report

URL: 

Published: 2015-04-16   Modified: 2020-03-30  

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