{"created":"2023-05-15T13:35:39.598593+00:00","id":6978,"links":{},"metadata":{"_buckets":{"deposit":"365b4a00-af77-4517-a003-c18e01c5cfcd"},"_deposit":{"created_by":3,"id":"6978","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6978"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006978","sets":["20:1200:1201"]},"author_link":["28189","28188"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1951-03-30","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"161","bibliographicPageEnd":"46","bibliographicPageStart":"20","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":"     Chu Ching-hsüan, the Chinese art critic late in the T'ang Dynasty, criticised the works of the three landscape painters in Southeastern China, namely Chang Chih-ho, Wang Mo and Li Yun-shêng, as “i-p'in paintings.” The word i-p'in (i : to escape, get off from routine; p'in. thing, grade) means “out of the routine of orthodox art.” This orthodox style that the critic regarded to be the standard of art was based upon the prevailing principles in painting generally accepted from the Period of Six Dynasties down till the T'ang Dynasty, which defined that a painting should contour objects accurately as they are in fine, vigorous lines, to work out faithful depiction of objects of nature in good conformity with the impressions they give. I-p'in, to the contrary, is an attitude of art expressive of individual characteristics of respective artists, to give an extremely modified or simplified depiction in bold, free and “boneless” lines instead of elaborate contour lines.\n     The invention of this unconventional style was almost a revolution in the history of Chinese painting. Men laying importance on tradition refused even to regard it as art. But Chu Ching-hsüan recognised “a sort of” artistic value in it, and placed it below orthodox art as “permissibly exceptional.” Critics of later periods, from late in the Period of Five Dynasties to the Northern Sung Dynasty, though they still respected the traditional standards and regarded the i-p'in as going astray from them, came to place it in highest.esteem in artistic value. The i-p'in in these periods permeated not only in landscapes but also in figures and flowers-and-birds, and throughout the whole of the Chinese land. The novel style was now adopted by representative masters in respective specialities. The fact proves that the i-p'in style came to hold a leading position in the art of the new age.\n     The styles of painting in the Sung Dynasty were divided into two main currents. One was rooted in extremely realistic depiction. The othei's life lay in an idealistic expression within simplified depiction, and this latter was derived from the i-p'in. The i-p'in style of figure depiction early in the Sung Dynasty is illustrated best in an old trustworthy copy (in the collection of the Shōhō-ji Temple) of the “Niso Chōshin ” by Shih Ko. The boldly rough brushwork and the simplified depiction attained by it in this painting shows that this style is most effective in suiboku or black-and-white painting done in China ink washes. The suiboku is an abstract form of colors and a transfigured aspect of the world of colors, which is essentially concurrent with the spirit of the i-p'in. The confluence of the suiboku form and the i-p'in style flowed down through the art of the Sung Dyasty, and give birth to numerable fine works along the stream. It brought up many of literat-and priest-painters, and soaked even into a part of the conventional Imperial Academy of the dynastic court. The famous larger-size version of the “Eight Scenic View of Hsiao Hsiang” attributed to Mu Ch'i, and “Li Po Reciting Poem” by Liang K'ai are the most memorable specimens in the history of development of the i-p'in style.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"島田, 修二郎"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Shimada, Shujiro","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":"2016-12-27"}],"displaytype":"detail","filename":"161_20_Shimada_Redacted.pdf","filesize":[{"value":"33.5 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"161_20_Shimada_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6978/files/161_20_Shimada_Redacted.pdf"},"version_id":"d8e29b5e-7c39-4429-b376-f69bef3e58bd"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"朱景玄・唐朝名画録・王墨・黄休復・益州名画録・石恪・貫休・徐煕","subitem_subject_scheme":"Other"},{"subitem_subject":"On I-p’in, the “Extraordinary” Style of Chinese Painting","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":"逸品画風について","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"逸品画風について"},{"subitem_title":"On I-p’in, the “Extraordinary” Style of Chinese Painting","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1201"],"pubdate":{"attribute_name":"公開日","attribute_value":"2016-12-27"},"publish_date":"2016-12-27","publish_status":"0","recid":"6978","relation_version_is_last":true,"title":["逸品画風について"],"weko_creator_id":"3","weko_shared_id":-1},"updated":"2023-05-15T22:35:23.922124+00:00"}