The acceptance and the transformation of Chinese Image in 15th-17th Japan.

2014 Fiscal Year Final Research Report

• Project/Area Number: 24520108
• Research Category: Grant-in-Aid for Scientific Research (C)
• Allocation Type: Multi-year Fund
• Section: 一般
• Research Field: Aesthetics/Art history
• Research Institution: Kyoto Institute of Technology
• Principal Investigator: NAMIKI Seishi 京都工芸繊維大学, 工芸科学研究科, 教授 (50211446)
• Project Period (FY): 2012-04-01 – 2015-03-31
• 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

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.

Free Research Field

日本美術史