Study of Sesshu based both on his works and documentary sources around him

对雪舟的研究基于他的作品和他周围的文献资料

基本信息

批准号：
15520095
负责人：
ONISHI Hiroshi
金额：
$ 2.24万
依托单位：
Musashi University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2003
资助国家：
日本
起止时间：
2003 至 2006
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-15520095/
关键词：
Sesshu overseas trade around China landscape painting as elite art topographical sketch as technology cultural dignity economical circulation Age of Discovery Sakai and Ningbo-two hub-ports 水墨画遣明使鎮江市寧波市四季山水図国々人物図巻文字史料と絵画史

项目摘要

This study focuses specifically on some still unexplored aspects concerning Sesshu's travel to China from 1467 to 1469. Methodologically, two different approaches were taken and turned out to shed new lights on Sesshu's life and works. One approach touches directly the works themeslves the artist created during his stay in China. The other in turn probes documentary records leading us to Sesshu's life and works from both Chinese and Japanese sides.One significant outcome of this study is the fact that this Japanese artist could be reconsidered in the context of the world wide movement in this era ; the so-called Age of Discovery. One of his works dare to describe minutely a rising trade hub-port along the Yantze River. There are some others whose keen interests are centered on either urban landscapes or foreign people from all over the Asian countries.At the same time, Sesshu was immersed in the elite Wenren circles in Jinangnan District. His famous Four Season Landscape, now in Japan, was actually done for a certain Jiangnan elite and was long kept-even up to the early 20^<th> century--by one of the Chinese prince's family. In sharp contrast, this was never a map-like urban scene nor a genre picture rendition above mentioned. No wonder, Sesshu was deeply committed in both high and low societal activities. What is interesting is that this fact is attested by documentary sources such as the Diary of Kiko Daishuku who was active in Sakai whch is well konwn as a new city quite open to contemporary economomical and cultural trends overseas.

这项研究专门针对一些关于塞森从1467年到1469年前往中国旅行的仍未开发的方面。从方法上讲，采取了两种不同的方法，并发现了Sesshu的生活和工作的新灯。一种方法直接触及了艺术家在中国逗留期间创造的主题。另外，另一个探究纪录片的记录使我们迈向了塞森的生活，并从中国和日本人开始工作。这项研究的重要结果是，在这个时代的万维世界运动的背景下，可以重新考虑这位日本艺术家。所谓的发现时代。他的一件作品敢于描述沿着扬兹河沿岸的贸易中心港口。还有一些其他敏锐的兴趣集中在城市景观或来自亚洲国家的外国人民上。同时，塞苏（Sesshu）沉浸在吉南南（Jinangnan）地区的精英温伦（Jinangnan）地区。他著名的四个季节景观现已在日本进行，实际上是为某个江南精英而完成的，长期以来一直保持到20世纪初期，这是一个中国王子的一家人。相比之下，这从来都不是像地图一样的城市场景，也不是上面提到的流派图片。难怪，塞森（Sesshu）在高层和低社会活动中都坚定不移。有趣的是，这一事实得到了纪录片的证明，例如活跃于Sakai whch的Kiko Daishuku日记是Konwn，这是一个新的城市，这是一个对当代经济和文化趋势开放的新城市。