Buddhist Monasteries of Southern China in Song Yuan Period and Buddhist Paintings Brought to Japan

宋元时期南国佛教寺院与传入日本的佛教绘画

• 批准号: 12610069
• 负责人: IDE Seinosuke
• 金额: $ 1.22万
• 依托单位: National Research Institute for Cultural Properties, Tokyo
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 2000
• 资助国家: 日本
• 起止时间: 2000 至 2002
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-12610069/
• 关键词: Song-Yuan Buddhist Painting; Goryeo Buddhist Painting; Kundaikansauchoki; Ninbo Buddhist Paiting; Hanzhow Buddhist Painting; 寧波仏画; 天台宗; 水陸会; 抗州; 寧波; 舶載仏画; 大徳寺五百羅漢図; 水陸道場; 色料; 画師の社会的位相; 船載仏画; 南宋仏画; 杭州

A great number of full-color Buddhist paintings exist in Japan which were brought to Japan from the Asian continent in Japan's medieval and later periods as either Tang paintings or Song paintings, and these works have been evaluated as the work of Chinese painters. The great majority of these works consist of the group of narrowly defined Ningbo Buddhist paintings which are recorded as having been produced by the painters of Ningbo, Zhejian province, China, and the great number of Korean Goryeo dynasty Buddhist paintings. But some of these Chinese Buddhist paintings cannot be categorized under the narrow definition of the Ningbo paintings, and the nationalities cannot be determined for many works, with debate still out on whether they are the work of China, the Korean Peninsula, or even of Japan itself. Depending on the work, some have been placed on the edges of the mainstream of Chinese painting history, or there have been cases where this positioning was canceled, and they have bee … More n assigned other nationalities.Originally the process of considering the identity of each individual art object was not synonymous with asking the painting's nationality. A discussion of "East Asian art history" which neglects a consideration of the social and cultural contexts occurring in the specific region and time and their role in the formation of the identity of each individual art object, a form of history which firmly stamps the national labels of China, the Korean Peninsula and Japan onto each work's formal characteristics, is contrary to the original intentions of the field and fraught with the danger of eliciting statements which easily reinforce the structure of each nation's own history of art. This does not mean that there has been enough debate on whether or not there is an effective function in the frequent comparison ~between the framework known as Japan or the Korean Peninsula within specific time periods and the framework known as China, which is macro in breadth and not easily contained.With this awareness of the issues involved, this paper will attempt to search for an effective approach to "East Asian art history" from the stance of research on the Buddhist paintings brought to Japan which have been placed in this "border-line" position. Less

日本存在着大量的全彩佛教画，这些画是在日本中世纪及后期以唐画或宋画的形式从亚洲大陆带到日本的，这些作品被评价为中国画家的作品。这些作品中绝大多数是狭义的宁波佛画，据记载是由中国浙江宁波的画家制作的，以及大量的韩国高丽王朝的佛画。但这些中国佛教画中，有一些无法按照宁波画的狭隘定义进行归类，许多作品的国籍也无法确定，究竟是中国的作品，还是朝鲜半岛的作品，甚至是日本本身的作品，至今仍有争议。根据作品的不同，有些人被置于中国绘画史主流的边缘，或者有这种定位被取消的情况，他们被……更多地分配到其他国籍。最初，考虑每个单独艺术品的身份的过程并不等同于询问画作的国籍。对“东亚艺术史”的讨论忽略了对特定地区和时间发生的社会和文化背景的考虑，以及它们在形成每件单独艺术品身份中的作用，这是一种将中国、朝鲜半岛和日本的国家标签牢牢地印在每件作品形式特征上的历史形式；与该领域的初衷背道而驰，并且充满了引发言论的危险，这些言论很容易强化每个国家自己的艺术史结构。这并不意味着，频繁比较日本或朝鲜半岛这一特定时期的框架与中国这一宏观范围且不易控制的框架是否具有有效作用，这一问题已经有了足够的争论。基于对所涉及问题的认识，本文将试图从研究被置于这一“边界”位置的传入日本的佛教绘画的立场出发，寻找一条研究“东亚艺术史”的有效途径。少

项目成果

IDE Seinosuke: "Buddhist Painting Brought to Japan 'from Song-Yuan China"Shibundo. 1-98 (2001)

IDE Seinosuke：《从宋元中国传入日本的佛教绘画》Shibundo。

井手誠之輔: "日本の宋元仏画(日本の美術第418号)"至文堂. 98 (2001)

井出清之助：《日本宋元佛教绘画（日本美术第418号）》《Shibundo》98（2001）。

井手誠之輔: "叡福寺蔵涅槃変相図"国華. 1263. 41-46 (2001)

井出圣之介：《永福寺涅槃变身集》国尼卡。1263. 41-46 (2001)

井手 誠之輔(キム・ヨンチョル韓国語訳): "日本における中国仏画の受容-宋風を中心に-"展覧会カタログ「異と同」(韓国京畿道博物館). 173-182 (2002)

井出圣之介（金容哲韩文译）：《中国佛教绘画在日本的接受——以宋体为中心》展览图录《异同》（韩国京畿道博物馆）173-182（2002）。

井手誠之輔: "叡福寺蔵 涅槃変相図"国華. 1263. 41-46 (2001)

井出清之助：《永福寺涅槃变身图》Kokuka. 1263. 41-46 (2001)