| Budget Amount *help |
¥2,600,000 (Direct Cost: ¥2,600,000)
Fiscal Year 2006: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2005: ¥2,100,000 (Direct Cost: ¥2,100,000)
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| Research Abstract |
The pre-modern Yamato-e of Tosa, Sumikyoshi and Itaya schools, together with the works by the school disciples Watanabe Naoteru and Yamana Tsurayoshi were comprehensively collected by William Anderson (1842-1900).This collection includes such original works that challenge the conventional assumption about Yamato-e. For example, in "Shichifukujin-zu(the Seven Gods of good fortune) "by Tosa Mitsusuke, attempt to create a new type of Shichifukujin-zu painting can be seen in the unique use of semicircles for outlining faces, eye blows, noses and ears. In unmounted works, such as "Yashima kassen-zu(Battle at Yashima)" and "Gunbu-zu(group dance)"by Sumiyoshi Hirosada, people are depicted vividly with accurate modeling, unlike the widely-assumed, image of Sumiyoshi school, valuing regulations. Furthermore, I discovered the works, "Jurojin-zu(God of Longevity)", "Taki-zu (waterfall) ", and ",Renchi-zu(lotus pond and mandarin ducks)", by Sumiyoshi Jokei, which were not introduced till new. Thes
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e Suibokuga paintings, in which the Rinpa-style Tarashikomi(dripping) technique is applied are supposed to be those recorded in "Kaiga kantei hikae (memos of picture judgment) "by Sumiyoshi Hiroyuki in1792. Anderson's evaluation of the pre-modern Yamato-e was not very high. He compiled a book titled "Descriptive and Historical Catalogue of a Collection of Japanese and Chinese Paintings", in which he criticized the Yamato-e as"the beauty of the productions of the Academy was most seriously marred by the incorrect and ungraceful rendering of the human figure, exemplified in the doll-like imbecility of their portraitures of the lords and ladies" One may consider that Anderson's opinion is one-sided for not taking into consideration the conditions such as the training method at the pre-modern age academic art circles, clients' intentions, and different skills and techniques between painters. However, the opinion of Anderson, who gave a lecture on Japanese art in 1879 while staying in Japan and the translation of whose book "The Pictorial Art of Japan" (published in 1896) influenced people such as Ernest Francisco Fenollosa and Okakura Tenshin, should not be thought little of. Less
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