| Project/Area Number |
23520184
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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 |
Study of the arts/History of the arts/Arts in general
|
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| Research Institution | Daito Bunka University |
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Principal Investigator |
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| Project Period (FY) |
2011 – 2013
|
| Project Status |
Completed (Fiscal Year 2013)
|
| Budget Amount *help |
¥2,210,000 (Direct Cost: ¥1,700,000、Indirect Cost: ¥510,000)
Fiscal Year 2013: ¥390,000 (Direct Cost: ¥300,000、Indirect Cost: ¥90,000)
Fiscal Year 2012: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2011: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
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| Keywords | 中国書道史 / 石刻 / 刻法 / 北朝 / 墓誌 / 書法 / 伝承 / 書道史 |
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| Research Abstract |
Many of the masterpieces of Chinese calligraphy consist of stone inscriptions. Up until now stone inscription has been regarded as faithfully reflecting the original draft written with a brush. Based upon such a premise, the history of calligraphy has been related. In this study, we have made cleat the fact that the carvers stuck to their own specific carving styles regardless of the original brush traces, and these autonomous carving styles were propagated beyond time and space.
Therefore, traditional recognition does not reflect true conditions of stone engraving. And the generally accepted idea that carving styles are always subject to brush must be denied. The fact also suggests that, just as calligraphy has multiple schools, stone inscription used to have its own branches handing down specific carving styles.
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