A study of 18th and 19th century Japanese Nanga paintings through art historical and material analysis, with a focus on the Nanpin School

通过艺术史和材料分析研究 18 世纪和 19 世纪日本南画画，重点关注南品画派

• 批准号: 2277830
• 金额: --
• 依托单位: Nottingham Trent University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2277830
• 关键词: study; 18th; 19th; century; Japanese

A study of 18th to 19th-century Japanese Nanga Paintings through art historical and material analysis, with a focus on the Nanpin School. This PhD project will compare Japanese Nanga paintings with the Chinese paintings that influenced them using art historical studies and scientific analysis of the materials and media. The British Museum and the Ashmolean together have the largest collections in the UK. The Curator of Japanese Art at the Ashmolean Museum and the Curators of Japanese Art and Chinese Art at the British Museum have all given permission to access the Japanese Nanga paintings and Chinese painting in their collections to carry out the research needed for this PhD. The project will be interdisciplinary, involving art history informed by scientific analysis; material analysis through the angle of paper conservation; and scientific analysis of potential light-induced damage to inform display conditions of exhibitions. Extensive research has been carried out on Western painting materials and media (Trenrelman 2009; Ambers 2010; Neevel 2013), but only limited research has been carried out on East Asian paintings (Arai 2007; Winter 2008) and little recent research has been conducted on materials transmission processes from Chinese to Japanese paintings (Naka 2014), in particular paper-based Nanga paintings. Thus, this project would provide essential evidence for unresolved art history research questions such as trading routes; transmission process of painting knowledge and techniques; forgeries of paintings; and safe display environments for light-sensitive dyes for long-term preservation purposes. The principal aim of this project is to undertake the first comparative materials analysis of Japanese Nanga paintings and the Chinese paintings that influenced them. This will involve a combination of scientific analysis and art historical research using Ashmolean Museum and British Museum collections. This is an innovative research project, providing essential scientific evidence of painting materials to examine how Japanese Nanga paintings were created in terms of techniques and materials in comparison to Chinese paintings from Yuan (13th-14th C), Ming (14th-17th C), Qing (17th-20th C) Dynasties. It will also examine variations among Japanese Nanga artists employing non-invasive scientific imaging and spectroscopy analysis with the support of conservation scientists at NTU. As well as comparing these withChinese paintings, I will cross-reference them with the literary sources "Hasshu gafu (Manual of Eight Categories of Paintings)", "Kashien gaden (Mustard Seed Garden Painting Manual)", "Jichikusai Shogafu (Ten Bamboo Studio Collection of Calligraphy and Painting)", "Gazenshitsu zuihitsu (Views Zenshitsu Essay)" which influenced Japanese Nanga artists. In addition, I will catalogue the Japanese Nanga painting collections at the British Museum, building a database of techniques, materials, seals, and regions to understand the influence of each artist. In terms of potential applications, one aim is to discover trading routes of pigments and materials between China and Japan. There will also be opportunities to identify, through scientific analysis, forgeries attributed to master Chinese and/or Japanese artists. Furthermore, identification of lightsensitive colourants will inform display lighting conditions for future exhibitions. This project will allow a cultural sector organization to understand better the resources/artefacts that it holds, and to allow audiences to understand the significance of these artefacts. There are opportunities for public engagement and an exhibition at the Ashmolean and for contributing to the British Museum website and public talks at the British Museum. I also aim to present my research at relevant conferences, e.g. International Council of Museums, Japan Art History Forum, Institute of Conservation.

通过艺术史和资料分析，研究18至19世纪日本的南雅绘画，重点是南屏派。这个博士项目将通过艺术史研究以及对材料和媒体的科学分析，将日本南迦叶绘画与影响他们的中国绘画进行比较。大英博物馆和阿什莫林博物馆共同拥有英国最大的收藏品。阿什莫林博物馆的日本艺术策展人和大英博物馆的日本艺术和中国艺术策展人都允许访问他们收藏的日本南迦叶绘画和中国绘画，以进行博士学位所需的研究。该项目将是跨学科的，涉及科学分析的艺术史;通过纸张保护的角度进行材料分析;以及对潜在的光致损害进行科学分析，以告知展览的展示条件。对西方绘画材料和媒介进行了广泛的研究（Trenrelman 2009; Ambers 2010; Neevel 2013），但对东亚绘画的研究有限（Arai，2007年; 2008年冬），而最近很少有人对中国画到日本画的材料传递过程进行研究（纳卡2014），特别是纸基南迦绘画。因此，该项目将为尚未解决的艺术史研究问题提供必要的证据，如贸易路线;绘画知识和技术的传播过程;绘画的收藏;以及光敏染料的安全展示环境以供长期保存。该项目的主要目的是对日本南迦叶绘画和影响他们的中国绘画进行第一次比较材料分析。这将涉及使用阿什莫林博物馆和大英博物馆收藏的科学分析和艺术史研究的结合。这是一个创新的研究项目，提供了绘画材料的基本科学证据，以研究日本南迦叶绘画是如何在技术和材料方面与元（13 - 14 C），明（14 - 17 C），清（17 - 20 C）时期的中国绘画进行比较。它还将在NTU保护科学家的支持下，采用非侵入性科学成像和光谱分析来研究日本Nanga艺术家之间的差异。在与中国画进行比较的同时，我将它们与影响日本南伽画家的文献资料《八种画谱》、《芥子园画谱》、《十竹斋书画集》、《观禅志随笔》进行交叉参考。此外，我还将为大英博物馆收藏的日本南迦叶绘画作品编目，建立一个技术、材料、印章和地区的数据库，以了解每位艺术家的影响。在潜在的应用方面，一个目标是发现中国和日本之间的颜料和材料的贸易路线。此外，还将有机会通过科学分析，确定中国和/或日本艺术家大师的作品。此外，光敏着色剂的识别将为未来的展览提供展示照明条件。该项目将使文化部门组织更好地了解其拥有的资源/文物，并使受众了解这些文物的重要性。有机会在阿什莫林进行公众参与和展览，并为大英博物馆网站和大英博物馆的公开讲座做出贡献。我还打算在相关会议上介绍我的研究，例如国际博物馆理事会，日本艺术史论坛，保护研究所。