{"created":"2023-05-15T13:35:06.587250+00:00","id":6318,"links":{},"metadata":{"_buckets":{"deposit":"268183de-dae8-420c-acf6-da0a1660c2dc"},"_deposit":{"created_by":3,"id":"6318","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6318"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006318","sets":["20:1010:1022"]},"author_link":["26573","26572"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1992-02-29","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"352","bibliographicPageEnd":"18","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":"     What was the attitude of the people of the Muromachi period towards paintings? The purpose of this paper is to consider this question through a case study of the sliding-door paintings (shōji-e) at the Shōsenken, a subtemple of Shōkokuji in Kyoto. The paintings were produced by Oguri Sōkei in 1491. Although neither the paintings nor the building exists today, Kisen Shōshō, a Zen monk and client, left a detailed record of the process of the construction of the building and the paintings. From this document, the following three points are clear; 1) The relationship between the client and the painter when the paintings were being produced was the same as that between the client and the carpenter during the final stage of construction when the interior was being finished. 2) The production of the paintings was under the direction of the client. 3) The painter, as well as the carpenter, was paid by the day, although the wages of the former was more than three times that of the latter.\n     Four rooms of the building were decorated with paintings. Among them, we may surmise that the colored paintings found in the gosho no ma (the reception room for military aristocracy) was the most laborious, and the one in kyaku den (the room for ritual ceremonies) was the next. On the other hand, the paintings for the two shoin (rooms for monks) were done in quite simple, monochrome brush work, requiring less work. It is clear that the subject matter was decided by the purpose of the room and the amount of work (expense) involved.\n     In the 15th century, goods were obtained by either buying or ordering, and obviously, sliding-door paintings were made to order. As a painter was paid by the amount of work done, the more laborious and time-consuming the technique and the material, the higher the cost of the painting. The price of a painting was set in such a way that people came to believe that an intricate and laborious painting was inherently a valuable painting. On the other hand, Chinese paintings were imported to Japan and people obtained them through purchase. In this case, the price was set by the fame of the painter. Thus, whether people ordered a painting or bought one made a great difference in their acceptance and value judgement.\n     When the price of a painting was set according to the amount of work required of the painter, the painter was paid for his labour. Yet in the sixteenth century when Kanō Motonobu was commissioned to do sliding-door paintings, though the price was calculated in terms of daily wages, his payment per day was far greater than that of his apprentices. Here we can see that his skill was appraised and added to the price of the painting. A new evaluation of a painter's mastery brought forth an innovation in painting production methods and a new era in attitudes towards painting.","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":"352_1_Suzuki_Redacted.pdf","filesize":[{"value":"22.5 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"352_1_Suzuki_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6318/files/352_1_Suzuki_Redacted.pdf"},"version_id":"f559f645-d1e0-4fcc-bdb8-0d623d481677"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"北房・月船・小栗・□継・亀泉集証・蔭凉軒日録・室町水墨画・初期障屏画","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":"絵の価値・絵の見方―室町時代相国寺松泉軒の障子絵制作から―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"絵の価値・絵の見方―室町時代相国寺松泉軒の障子絵制作から―"},{"subitem_title":"Value and Acceptance of Painting: Through the Study of Shoji-painting at Shosenken at Shokokuji-temple, Muromachi Period","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1022"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6318","relation_version_is_last":true,"title":["絵の価値・絵の見方―室町時代相国寺松泉軒の障子絵制作から―"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:37:19.427086+00:00"}