The historical study about the visual image of outfitting painted on the Middle Ages picture of Japan

日本中世纪绘画中服饰视觉形象的历史研究

• 批准号: 10610064
• 负责人: MARUYAMA Nobuhiko
• 金额: $ 1.98万
• 依托单位: KANAZAWA COLLEGE OF ART (2000)National Museum of Japanese History (1998-1999)
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 1998
• 资助国家: 日本
• 起止时间: 1998 至 2000
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-10610064/
• 关键词: outfitting; kariginu; sokutai; tuck on the back; portrait; Tensho; the Kabuki; Ancient practiceses and usages; 装束; 神服; 小袖; 東照宮; 輪王寺; 家康; 家光; 霊夢像; 直垂; 鳥帽子; 鎧直垂; 大紋; 素襖; 胴服

Istudied the difference with real clothes and drawn clothes from a view point of art history. Through this study, it became clear that draw n contents were not always equal to knowledge of ancient practices and usages. In addition, I understood that there were many pictures and articles left by the deceased which were different from common sense of recognized ancient practices and usages in today. So far, they thought that documents were the most important thing in the field of ancient practices and usages, but it must be regarded as the most important subject how a realrule in clothes changed actually. On the other hand, the error that a line of tuck on the back was drawn in creased in suddenly, even if there is not back embroidery to kariginu and suikan and so on. Furthermore, there are a great many errors of historical verisimilitude researches on movies and television and it is related with a topic of a sight image of the Middle Ages picture of Japan closely, and the subject will be important in future.

我从艺术史的角度研究了真实的服装与绘画服装的区别。通过这项研究，很明显，绘图内容并不总是等于古代实践和用法的知识。此外，我还了解到，有许多死者留下的图片和物品，与今天公认的古代惯例和惯例的常识不同。到目前为止，他们认为，在古代习俗和惯例领域，最重要的是文件，但必须被视为最重要的主题是如何真正的衣服规则实际上改变。另一方面，即使没有背绣，背上画了一条褶线的错误也突然增加到了卡里吉努和水岸等。此外，电影和电视中的历史真实性研究存在大量错误，这与日本中世纪画面的视觉形象这一主题密切相关，这一主题将是未来的重要课题。