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扇面画の美術交渉 : 日本・中国からフランスへ
http://hdl.handle.net/10112/7902
http://hdl.handle.net/10112/7902e3bfb59f-81db-4d0d-9036-68eab6722510
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KU-0400-20130401-16.pdf (856.1 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2013-10-09 | |||||
| タイトル | ||||||
| タイトル | 扇面画の美術交渉 : 日本・中国からフランスへ | |||||
| 言語 | ja | |||||
| 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 | |||||
| アクセス権 | ||||||
| アクセス権 | open access | |||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||
| その他のタイトル | ||||||
| その他のタイトル | Senmenga (fan picture) in contact with foreign cultures : From Japan, China to France | |||||
| 言語 | en | |||||
| 著者 |
中谷, 伸生
× 中谷, 伸生 |
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| 概要 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | Senmenga (fan picture, a picture painted on a fan) in East Asia is considered to have its origin in hiougi (wooden fan), which was made and used in the Imperial court in Japan at the end of the 9th century. Senmenga was created, propagated, influenced, and transformed during the course of its expansion from Japan through the Korean Peninsula to China, and as a result, became established in East Asia. Senmenga's contact with other cultures went beyond East Asia; tosen, the Chinese folding fans, were most likely introduced to Europe around the 16th century. Then the second wave of senmenga's diffusion in East Asia reached France and different parts of Europe in the 19th century. It is important to note that it was not one-way travel. For example, senmenga was originally brought from Japan to China, but it got exported back to Japan, became re-established there, and was then introduced to Europe. Also, Japanese fans brought to Korea were transformed into Koreanstyle fans and exported back to Japan. In addition, European senmenga, mostly developed in France, had some influence on Japanese painters around the late Edo period and into the Meiji period. Therefore, while spreading across various regions in East Asia and Europe, senmenga underwent a series of changes due to the influence of other cultures and also the influence it had on others. At least until the 19th century, Japanese art was not actively introduced to the world although foreign art was accepted in Japan. Senmenga’s spread across foreign countries is thus a rare case in the history of Japanese art, and it is also a complex one in that it made its way back to Japan. The diffusion of senmenga is thus a clear example of dynamic crosscultural contact of art in East Asia and Europe. | |||||
| 言語 | en | |||||
| 書誌情報 |
ja : 関西大学東西学術研究所紀要 巻 46, p. 51-71, 発行日 2013-04-01 |
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| ISSN | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 02878151 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN0004709X | |||||
| 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 | 関西大学東西学術研究所 | |||||
| 言語 | ja | |||||
