{"created":"2023-05-15T13:35:00.292597+00:00","id":6218,"links":{},"metadata":{"_buckets":{"deposit":"f147b4f2-391c-460a-9140-b55d6b6e55fe"},"_deposit":{"created_by":3,"id":"6218","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6218"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006218","sets":["20:989:990"]},"author_link":["26366","26367"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1995-03-20","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"361","bibliographicPageEnd":"22","bibliographicPageStart":"1","bibliographic_titles":[{"bibliographic_title":"美術研究"},{"bibliographic_title":"The bijutsu kenkyu : the journal of art studies","bibliographic_titleLang":"en"}]}]},"item_10001_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"     From the late fourteenth through the early fifteenth century, East Asia experienced a period of great political change. In 1368 the Ming Dynasty was established in China, 1392 saw the birth of the Yi Dynasty in Korea and the unification of the rival Northern and Southern Imperial courts in Japan, and in 1429 the Ryukyu Islands were united by King Sho Hashi. (Reference should also be made to the establishments of the Kingdom of Ayuthaya in Siam, 1350, and that of Malacca ca. 1402.) After this turbulent change, the new period brought an active cultural and commercial intercourse to the regions around the seas of East Asia. Ceramics and other artifacts that have been recovered from capsized ships attest to the frequent contacts and busy intercultural exchange. However, the present understanding of these objects within the context of interregional contact has been biased because the discourse has been confined within the ideological framework of the nation-state. The regional differences illuminated by examination of details of the artifacts have been interpreted as “influence” on the art of one nationality by another. On the other hand, the aspect of a common language of objects, which made possible the reception in disparate regions, has largely been ignored.\n     From ancient times in East Asia written Chinese served as a common language (similar to the function of Latin in Europe), and various cultures were shared and accumulated on China's periphery through the same method of writing. The main point of this essay is to investigate how the role of paintings which demonstrate this interregional cultural exchange was realized. Just as writing poetry and prose in Chinese made it possible for people of different regions to understand each other, the creation of paintings in idiomatic modes made possible the reception among large numbers of people. Thus, in the Japanese archipelago for example, the differential relation of yamato-e (painting in Japanese model and kara-e (painting in Chinese mode) is significant. This distinction was valid only within the confines of this particular geographical region, but the latter (karae) was in reality used for painting made in China and Japan alike. This usage of the word suggests a type of painting that functioned as a common visual language in East Asia, and the existence of this type of painting interior and, at the same time, exterior of the border would be impossible to imagine in the framework of the nation-state.\n     The Landscape Scroll (Plates IV-VI) painted in the Southern Song Dynasty court painting mode was appreciated by literati in Ningbo, the port city central to Sino-Japanese commerce. Another example is an image of Tenjin (God of Heaven). According to legend, the ninth-century imperial court scholar Sugawara Michizane, known posthumously as Tenjin, after death reappeared before a famous Chinese Chan monk and received his teaching. There remain many such paintings of Tenjin in China (Toto Tenjin) in Chinese vestments. Documents and extant works prove that this portrait painting was the object of veneration among Chinese men of letters and that some of the paintings were made in Ningbo and exported to Japan.\n     It has often been asserted that the opposition of yamato-e and kara-e is a function of the Japanese cultural paradigm that realized the adoption of elements from other cultures and their subsequent “Japanization.” David Pollack (The Fracture of Meaning, 1986) has skillfully manipulated this cultural paradigm, but as Naoki Sakai (“Modernity and Its Critique: The Problem of Universalism and Particularism,” in Masao Miyoshi and H. D. Harootunian, eds. Postmodernism and Japan, 1989) has justifiably criticized, this framework is valid only if the establishment of the nation-state is accepted as a premise, and to take this line of argument into a premodern context constitutes an ahistorical act. To apply this framework to art history would be complicit with the ideology that insists that Japanese culture is unique and unchanging. The moment when art historical research can break free of the discursive framework of the nation-state, art history will be able to make a contribution to the broader examination of the history of East Asia.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"鈴木, 廣之"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Suzuki, Hiroyuki","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2017-10-05"}],"displaytype":"detail","filename":"361_1_Suzuki_Redacted.pdf","filesize":[{"value":"30.4 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"361_1_Suzuki_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6218/files/361_1_Suzuki_Redacted.pdf"},"version_id":"cce91488-3522-4c1b-a86a-452e424600d2"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"一枝希維筆山水図巻（京都国立博物館蔵）琉球の鐘・蔗軒日録・渡唐天神像・陶淵明像・日葡辞書・室町水墨画","subitem_subject_scheme":"Other"},{"subitem_subject":"Landscape by Isshi Kii, Kyoto National Museum","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"journal article","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"往還する絵画―一五世紀漢字文化圏のなかの「唐絵」の意義―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"往還する絵画―一五世紀漢字文化圏のなかの「唐絵」の意義―"},{"subitem_title":"Paintings Crossing Sea Borders: The Significance of “Kara-e” in Fifteenth-century East Asia","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["990"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6218","relation_version_is_last":true,"title":["往還する絵画―一五世紀漢字文化圏のなかの「唐絵」の意義―"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:38:53.887700+00:00"}