@article{oai:kansai-u.repo.nii.ac.jp:00012451,
 author = {施, 燕},
 journal = {東アジア文化交渉研究 = Journal of East Asian cultural interaction studies},
 month = {Mar},
 note = {The Japanese art historian Toyomune Minamoto (1895-2001), proposed "the aesthetics of autumn flowers" (akigusa no bigaku) as being a unique characteristic of Japanese art. After researching each era of art history since the Fujiwara period, Minamoto came to regard the motif of "Autumn Flowers" as a representational symbol of the Japanese aesthetic sense throughout of art history. While this unique characteristic is based on the succession of the Yamato-e painting as being an orignal and unique style of the Japanese paintings from the Fujiwara period to present, it's not the only style of the Japanese paintings. However, Minamoto still saw it as the very characteristic of the Japanese paitings. As a reason, "the essence of the Yamato-e painting" as a keyword can be found intervening between the Yamato-e painting and Japanese paintings. In order to elucidating "the aesthetics of autumn flowers", this paper will attempt to clarify the relationship between the Japanese paintings and the Yamato-e painting. 
This will be done by analyzing "the Essence of the Yamato-e painting" in order to see if there is any possible relation with Minamoto's decision to regard the style of Yamato-e painting as the very essence of Japanese art., 文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点, 東アジアの言語と表象},
 pages = {93--107},
 title = {源豊宗の「大和絵的本質」について},
 volume = {8},
 year = {2015}
}