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A study of the theory and it's application to interpreting handscroll painting arts.

手卷绘画艺术阐释理论及其应用研究。

基本信息

批准号：
07451013
负责人：
KAMEI Wakana
金额：
$ 3.39万
依托单位：
GAKUSHUIN UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (B)
财政年份：
1995
资助国家：
日本
起止时间：
1995 至 1997
项目状态：
已结题

项目摘要

We have studied two themes for these past three years : art theories and some Japanese paintings in the medieval period. First, we have read some articles and books on gender theory, feminist theory, queer theory, homosocial theory and post-colonial theory. We have invited some scholars from Tokyo University, Harvard University and others to Gakushuin University in order to collaborate with them as well. As the result, we have realized the methods of "New Art History, " especialy the logic of the gaze, are useful for interpreting arts. Second, we have analyzed some specific art works, such as : handscroll paintings of the Tale of Genji, the Diary of Laby Murasaki ; Obusuma Saburo, and the story about Kuwanomidera Temple depicted by Tosa Mitsumochi, as well as the album of the paintings of the Tale of Genji as depicted by Tosa Mitsunobu and his atelier. We have concluded that any paintings from any dates have a great deal of political meaning and functions, but until recently, many art historians had ignored everything except the issue of aesthetic form. We have also problematized the discourse of art history. For example, we submitted new interpretation of Honcho Gashi, which has never been analyzed by gender theory. One of our main fruits is that we could prove new art history is possible, necessary and significant even in the Japanese art history field.

在过去的三年里，我们学习了两个主题：艺术理论和一些中世纪时期的日本绘画。首先，我们阅读了一些关于性别理论、女性主义理论、酷儿理论、同性恋理论和后殖民理论的文章和书籍。我们邀请了东京大学、哈佛大学和其他大学的一些学者到学习院大学，以便与他们合作。由此，我们认识到“新艺术史”的方法，特别是凝视的逻辑，对艺术的解释是有用的。其次，我们分析了一些具体的艺术作品，如：《源氏物语》的手卷画、《村崎拉比日记》、《大沼三郎》、土佐光持描绘的桑之见寺故事，以及土佐光信和他的工作室描绘的《源氏物语》绘画专辑。我们已经得出结论，任何时期的任何绘画都有很大的政治意义和功能，但直到最近，许多艺术史学家都忽略了一切，除了美学形式的问题。我们还对艺术史的论述提出了问题。例如，我们提交了从未用性别理论分析过的对Honcho Gashi的新解释。我们的主要成果之一是证明了新美术史的可能性、必要性和重要性，即使在日本美术史领域也是如此。