Multifaceted Identity of Buddhist Painting of the Southern Song Period: From Perspective of Capital and Region, and of East Asia

考虑到南宋绘画在佛教题材中的原产地，对于阐明中国在韩日三国被剥夺的巨大背景下，以及理解韩日两国的采纳过滤，其实都是非常重要的。通过对它们在杭州的产生背景提出一个在南宋绘画史上一直被忽视的概念模型，阐明了它们的重要性和多方面的表现。即使这些画起源于宁波，它们又怎么会与中央规范的视觉形式有关系呢？在这种情况下，我们还需要考虑他们在杭州的原型，这可能会与皇家画院有更直接的互动。探讨它们的产生渊源，必然会引导我们以新的视角重建南宋时期乃至东亚的绘画史。

Considering the original place of Southern Song paintings in Buddhist subject is actually very important to elucidate what from an immense background of China, Korea and Japan deprived of, and also to understand Korean or Japanese filter of adoption. By proposing a conceptual model for their production background in Hangzhou which has been ignored in the perspective of the Southern Song painting history until today, the study clarified their importance and multifaceted appearances. Even if the paintings have its origin from Ningbo, how could they have relations to the central canonical visual forms? In this case, we also need to consider their prototypes in Hangzhou which could have more direct interactions with the Imperial Painting Academy. To discuss about their production origin, inevitably conducted us to reconstruction of the new perspective of the history of the paintings of the Southern Song Period and East Asia.