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「東洋画」としての花鳥図 : 十九―二十世紀初頭の朝鮮の宮廷における日本人画家の活動を通して
https://doi.org/10.15083/00074429
https://doi.org/10.15083/000744295f38503a-b2ee-4215-a0c0-b346aeb39ab5
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
ioc173002.pdf (2.4 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2018-04-17 | |||||
| タイトル | ||||||
| タイトル | 「東洋画」としての花鳥図 : 十九―二十世紀初頭の朝鮮の宮廷における日本人画家の活動を通して | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源 | http://purl.org/coar/resource_type/c_6501 | |||||
| タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.15083/00074429 | |||||
| ID登録タイプ | JaLC | |||||
| その他のタイトル | ||||||
| その他のタイトル | Bird-and-Flower Paintings as Example of 'Oriental Painting' : Japanese Painters Active in Korea in the 1910s | |||||
| 著者 |
井戸, 美里
× 井戸, 美里 |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 146292 | |||||
| 姓名 | Ido, Misato | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Bird-and-flower paintings are a premier genre in East Asian art. Owing to their symbolism of the auspicious, they were executed for special occasions. In Japan it is common to see gilded folding screens and sliding doors depicting pine trees with birds and flowers that were produced in the sixteenth and seventeenth centuries. This current study delineates the circulation and transformation of the style and iconography of the ‘bird-and-flower paintings’ in East Asia by examining on the works of Japanese painters active in Korea ―particularly the Korean court ― in the 1910s. While the folding screen and the subject matter of bird-and-flower originated in China, it is well known that gilded screen paintings of birds and flowers were highly esteemed as diplomatic gifts from Japan to recipient in China and Korea. It is necessary therefore to explore the influence of this genre of paintings, including its styles and motifs, within the East Asian context. The first section of this study examines how the bird-and-flower paintings were exchanged among China, Korea, and Japan either as gifts or whatever purposes. The second part explores how the bird-and-flower paintings originated in China were circulated and transformed in Japan and Korea, specifically focusing on the two gilded screen paintings depicting “cranes and peaches,” which was a popular motif of the Joseon court. I also argue that the style and technique of Shen Quan (1682-1760) was widely accepted in Japan to manifest “modernity” due to his realistic expression of sketch from life derived from Western technique in addition to the auspicious quality that bird-and-flower paintings possesses. Lastly, this study analyzes the process of discovering “oriental painting” by Japanese painters affiliated with the “old school” within the context of Pan-Asianism. The traditional quality of bird-and-flower paintings can be reinterpreted as a means to establish an East Asian common ground that would justify Japanese assimilation policies in colonial Korea. |
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| 書誌情報 |
東洋文化研究所紀要 = The memoirs of Institute for Advanced Studies on Asia 巻 173, p. 25-69, 発行日 2018-03 |
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| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 05638089 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN00170926 | |||||
| 著者版フラグ | ||||||
| 値 | publisher | |||||
| 出版者 | ||||||
| 出版者 | 東京大学東洋文化研究所 | |||||
| 出版者別名 | ||||||
| Institute for Advanced Studies on Asia, The University of Tokyo | ||||||
