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円山応挙と清朝花鳥画 : 近衛家煕の唐物趣味をふまえて
http://hdl.handle.net/10112/10017
http://hdl.handle.net/10112/10017cf85e474-6bf4-4ef2-a0e0-8ffb3a7c0d79
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KU-1100-20151101-04.pdf (1.0 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-04-25 | |||||
| タイトル | ||||||
| タイトル | 円山応挙と清朝花鳥画 : 近衛家煕の唐物趣味をふまえて | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| その他のタイトル | ||||||
| その他のタイトル | Maruyama Ōkyo and Qing Bird-and-Flower Paintings: Konoe Iehiro’s Taste of Imports | |||||
| 著者 |
村上, 敬
× 村上, 敬 |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 30586 | |||||
| 姓名 | Murakami, Kei | |||||
| 概要 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | Research about Japanese paintings from after the mid-Edo period has recently been criticized as valuing Western culture over and above Chinese culture. At the root of the problem lies a dichotomy between Japan as being leader of Asia and the West in the two-dimensional world view of early modern Japan. Such criticism can be aimed at research about Maruyama Ōkyo, who was one of the most representative painters of Edo period Japan. In this paper I discuss Konoe Iehiro, who was a court noble with indirect ties to Ōkyo and who was also fond of the latest Chinese imports at that time. He imported the latest Chinese paintings from the Ryukyu islands, predating the arrival in Japan of Shen Quran. I elucidate the fact that Ōkyo was supported by Iehiro’s salons that recognized the importance of replications of paintings by Sun Yi and others. Just prior to Ōkyo’s birth, there was a revival of the Song and Yuan periods’ painting style. As a result, Shen Quan came to Japan, creating the foundation upon which the shasei-ga of Ōkyo could be accepted by the art world of that time. In other words, an interest in and understanding of paintings from a variety of regions already existing in Kyoto in the middle of the Edo period does not readily fit within today’s accepted framework of Japanese art history. | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 東アジアの言語と表象 | |||||
| 書誌情報 |
文化交渉 : Journal of the Graduate School of East Asian Cultures : 東アジア文化研究科院生論集 巻 5, p. 65-82, 発行日 2015-11-01 |
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| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 21874395 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA12712795 | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
| 出版者 | ||||||
| 出版者 | 関西大学大学院東アジア文化研究科 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 円山応挙 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 近衛家煕 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 孫億 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 沈南蘋 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 金箋画 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 関西大学（Kansai University） | |||||
