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Late Hokusai: Thought, Technique, Society

晚期葛饰北斋：思想、技术、社会

基本信息

批准号：
AH/N00440X/1
负责人：
Timothy Clark
金额：
$ 96.24万
依托单位：
British Museum
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2016
资助国家：
英国
起止时间：
2016 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FN00440X%2F1
关键词：
Late Hokusai Thought Technique Society

项目摘要

Katsushika Hokusai (1760-1849) is by far the best-known Japanese artist, sometimes mentioned with Rembrandt and Picasso as one of the few artists to have created art with a truly global reach. The power of his work has long been apparent. He captivated the Japanese public in his lifetime, quickly caught the eye of Euro-American artists, and has continued to fascinate a global audience ever since. His Great Wave (c. 1831) is by some estimates now the most reproduced image in the world.Hokusai remains a puzzle, however, and the full scope of his work little known. Among the public, he is often seen as the archetypal representative of the ukiyo-e ('floating world') school, although this fails to capture the full range of his work. Among specialists, he is usually isolated as an 'eccentric', outside the conventional categories of Japanese art, even though there is a lack of consensus about the authentic body of his work. Neither perspective grasps the original, enduring, and universal power of Hokusai's pictorial imagination. To do so, this project will focus on his last three decades. The prints of Mount Fuji were not only evidence of his mastery of a startling range of styles, forms, and formats. They inaugurated an extraordinary series of images, some from the last months of his life, in which Hokusai continued to refine his communion with human, natural, and unseen worlds.In order to understand the power of this work, we will be asking: 1. How was Hokusai's art animated by his thought, notably his belief that painting and drawing were a means of transcending the limitations of the self? 2. How does Hokusai's mature style synthesize and redefine the artistic vocabularies of Japan, China, and Europe, which he had studied earlier in his career?3. How can we identify Hokusai's own painted work, given the lack of consensus about criteria with which to establish authenticity? 4. How was Hokusai's work enabled by the social networks that linked him to collaborators and craftsmen, printers and publishers, pupils, patrons, and the public?These questions will provide the foundation for the next generation of scholarship and a transformed appreciation of Hokusai among the public. The results of the research will be disseminated through: a major exhibition and monograph at the British Museum in 2017, which will then travel to Japan; an international conference and edited research volume; and a pilot online resource, providing a space within which researchers and the public can explore and further our understanding of Hokusai's achievement.The project is lead by Timothy Clark of the British Museum, a specialist in Edo-period visual arts. He will be assisted by Angus Lockyer, a Japanese historian at SOAS, University of London, and Alfred Haft and Ryoko Matsuba, two specialists in Edo-period art at the British Museum and SOAS. The core project team will be advised by Roger Keyes, the leading specialist on Hokusai working in English, and ASANO Shugo, a Hokusai specialist and Director of Abeno Harukas Museum, Osaka, where the exhibition will travel after London. The Art Research Center, Ritsumeikan University, Kyoto, the leading database of ukiyo-e imagery in the world, will furnish digital support for the project.The project relies on international collaboration and will draw on a range of researchers in order to explore the interdisciplinary questions at its heart. Key institutional partners are Boston Museum of Fine Arts, Freer-Sackler Gallery at the Smithsonian Institution, Metropolitan Museum of Art, Musée Guimet in Paris, and over ten leading museums in Japan, including the Tokyo National Museum. Among the key contributors to the project will be an advisory committee comprising Professors Henry Smith (Columbia University), Peter Kornicki (Cambridge), Robert Campbell (Tokyo) and KOBAYASHI Tadashi (Tokyo), Dr John Carpenter (Metropolitan Museum) and NAGATA Seiji (Tsuwano Katsushika Hokusai Museum).

葛饰北斋（Katsushika Hokusai，1760-1849）是迄今为止最著名的日本艺术家，有时与伦勃朗和毕加索一起被认为是少数几位创作出真正具有全球影响力的艺术家之一。他的工作的力量早已显而易见。他在有生之年吸引了日本公众，迅速吸引了欧美艺术家的目光，并从那时起继续吸引全球观众。他的伟大浪潮（C。1831年）是一些估计，现在最复制的图像在世界上。北斋仍然是一个谜，然而，和他的工作的全部范围鲜为人知。在公众中，他经常被视为浮世绘（“漂浮的世界”）学派的典型代表，尽管这并不能全面反映他的作品。在专家中，他通常被孤立为“怪人”，不属于日本艺术的传统类别，尽管人们对他作品的真实性缺乏共识。这两种观点都没有抓住北斋的绘画想象力的原始、持久和普遍的力量。为了做到这一点，这个项目将集中在他的最后三十年。富士山的版画不仅证明了他掌握了惊人的风格，形式和格式。这些照片为一系列非同寻常的图像揭幕，其中一些是他生命最后几个月的照片，在这些照片中，北斋继续完善他与人类、自然和看不见的世界的交流。为了理解这项工作的力量，我们将问：1.北斋的艺术是如何被他的思想所激励的，特别是他相信绘画和素描是超越自我局限的一种手段？2.北斋的成熟风格是如何综合和重新定义他在职业生涯早期研究的日本、中国和欧洲的艺术词汇的？3.在鉴定真伪的标准缺乏共识的情况下，我们如何鉴定北斋自己的绘画作品？4.社交网络将北斋与合作者和工匠、印刷商和出版商、学生、赞助人和公众联系在一起，这是如何使他的工作成为可能的？这些问题将为下一代的学术研究和公众对北斋的欣赏提供基础。研究成果将通过以下方式传播：2017年在大英博物馆举办大型展览和专著，然后将前往日本;国际会议和编辑的研究卷;以及一个试点在线资源，为研究人员和公众提供了一个探索和进一步了解北斋的成就的空间。该项目由大英博物馆的蒂莫西·克拉克领导，江户时代视觉艺术的专家他将得到伦敦大学SOAS的日本历史学家安格斯洛克耶，以及大英博物馆和SOAS的两位江户时代艺术专家阿尔弗雷德·哈夫特和松叶良子的协助。核心项目团队将由Roger Keyes和ASANO Shugo担任顾问，Roger Keyes是北斋的主要专家，他用英语工作，ASANO Shugo是北斋专家，也是大坂Abeno Harukas博物馆的馆长，展览将在伦敦之后前往大坂。京都立命馆大学艺术研究中心是世界上最大的浮世绘图像数据库，将为该项目提供数字支持。该项目依靠国际合作，将吸引一系列研究人员，以探索其核心的跨学科问题。主要的机构合作伙伴是波士顿美术馆、史密森尼学会的弗里尔-萨克勒画廊、大都会艺术博物馆、巴黎的吉梅博物馆以及包括东京国立博物馆在内的日本十多个主要博物馆。该项目的主要贡献者将是一个咨询委员会，成员包括亨利史密斯教授（哥伦比亚大学）、彼得科尼克（剑桥）、罗伯特坎贝尔（东京）和小林忠（东京）、约翰卡彭特博士（大都会博物馆）和长田诚司（津和野胜饰北斋博物馆）。