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追三代於鼎彝之間―宋代の「考古」から「玩古」への展開について―
https://tobunken.repo.nii.ac.jp/records/6169
https://tobunken.repo.nii.ac.jp/records/6169dce5f1a7-f036-4486-8ef7-1e061611af7a
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
391_1_Chin_Redacted.pdf (56.1 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 公開日 | 2017-10-05 | |||||||||||||
| タイトル | ||||||||||||||
| タイトル | 追三代於鼎彝之間―宋代の「考古」から「玩古」への展開について― | |||||||||||||
| タイトル | ||||||||||||||
| タイトル | Seeking the Three Dynasties among the Ritual Vessels of Old: The Sung Dynasty Shift from “Investigating Antiquity” to “Appreciating Antiquity” | |||||||||||||
| 言語 | en | |||||||||||||
| 言語 | ||||||||||||||
| 言語 | jpn | |||||||||||||
| キーワード | ||||||||||||||
| 主題Scheme | Other | |||||||||||||
| 主題 | 銅器・銅器を模した陶磁器 | |||||||||||||
| 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 | journal article | |||||||||||||
| 著者 |
陳, 芳妹
× 陳, 芳妹
× 金, 立言
× Chen, Fang-mei
× Kim, Li-yan
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| 抄録 | ||||||||||||||
| 内容記述タイプ | Abstract | |||||||||||||
| 内容記述 | The great bronze casting tradition of the Shang to the Warring States faded into the shadows during the era of the Han empire and the succeeding centuries. During the Sung dynasty, ancient bronzes were not just inadvertently rediscovered, but also sought out, collected, studied, and recorded in books. They were used as models for bronze imitations of their shape, decor, and inscriptions; and also served as the basis for imitations in ceramic, gold, silver, jade, and other media. These projects provided a visual impression of the bronzes of the “Three Dynasties” (Hsia, Shang, and Chou), which had grown muddled and obscure over the passage of time. Sung men took bronzes that were used in ancestral rites held in the clan and state temples of the Three Dynasties' nobility, and gave them a new life in the contexts of Confucian, Buddhist, Taoist, and popular religious practice. As the medium changed, the distance from the original vessels gradually increased. At the same time, as these vessels found their way into the daily life of common people, moving from temples into the decorative space of the home, they became an emblem of the possession of the past and a concrete embodiment of different social groups' recognition of the new values of “investigating antiquity” and “appreciating antiquity.” The present essay uses recent archaeological discoveries – in particular discoveries or aspects of discoveries that have largely been neglected (such as the burial context and the inter-relationship of items within this context, inscriptions, and the status of the tomb occupant) – in conjunction with historical records to construct a tentative explanation of the relationships between these objects and the people who used them. Such links include the relationships between the functional contexts of the objects and the social and political status of the individual. The ultimate goal is to explore the rebirth of Three Dynasties bronze imagery as a cultural element and examine the forces that drove this revival. In particular, the essay explores the cognitive shift from thinking of ancient bronzes as emblems of loss to understanding them first as objects of inquiry and then as foci of aesthetic appreciation. The author also investigates the expansion and transformation of the social, economic, political, and religious foundations of the class of patrons from whom these cognitive changes emerged. These changes gradually pushed revivalist bronze imagery into the world of Confucian, Buddhist, Taoist, and even popular religious observances, as well as into the lives of the common people. It lay the foundation for key developments of the subsequent millennium, and thus represents a key influence in the history of the material arts. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 391, p. 1-39, 発行日 2007-03-26 |
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