| Project/Area Number |
24520108
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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 |
Aesthetics/Art history
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| Research Institution | Kyoto Institute of Technology |
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Principal Investigator |
NAMIKI Seishi 京都工芸繊維大学, 工芸科学研究科, 教授 (50211446)
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| Project Period (FY) |
2012-04-01 – 2015-03-31
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| Project Status |
Completed (Fiscal Year 2014)
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| Budget Amount *help |
¥4,160,000 (Direct Cost: ¥3,200,000、Indirect Cost: ¥960,000)
Fiscal Year 2014: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2013: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
Fiscal Year 2012: ¥2,080,000 (Direct Cost: ¥1,600,000、Indirect Cost: ¥480,000)
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| Keywords | 狩野派 / 韃靼人図 / 瀟湘八景図 / 流書手鑑 / 酒飯論絵巻 / 狩野元信 / 李安忠 / 白描 / 中国絵画 / 君台観左右帳記 / 廿四孝図 / 帝鑑図 |
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| Outline of Final Research Achievements |
In this study, I clarified the following contents from the point of the reception and the transformation of the Chinese picture.
For the Kano school painters, the series of "Ryusho tekagami" were most convenient materials to know the painter’s name, his motif, and his style of painting in China. On the other hand, I treated the Shuhan-ron- emaki as the example that the Chinese motif handed down transformed to the Japanese style in 16th century Japan. We can see the inheritance of the style and the iconographic image in the Shuhan-ron-emaki in several copies of this emaki. And, in there, I pointed out that the black and white version of this emaki played a very important role.
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