A study of the theory and it's application to interpreting handscroll painting arts.

在过去的三年里，我们学习了两个主题：艺术理论和中世纪时期的一些日本绘画。首先，我们阅读了一些关于性别理论、女权主义理论、酷儿理论、同社会理论和后殖民理论的文章和书籍。我们邀请了东京大学、哈佛大学等一些学者来学府大学，也是为了与他们合作。因此，我们认识到“新艺术史”的方法，特别是凝视的逻辑，对艺术的解读是有用的。其次，我们分析了一些具体的艺术作品，如：《源氏物语》手卷画、《村崎来太郎日记》、大沼三郎、三内藤佐描绘的夸万诺美德寺故事、以及三部藤佐沙及其工作室描绘的《源氏物语画集》。我们得出的结论是，任何年代的任何绘画都具有很大的政治意义和功能，但直到最近，许多艺术史学家除了审美形式问题外，一直忽视了一切。我们还把艺术史的话语问题化了。例如，我们对本町伽师提出了新的解释，这是从来没有被性别理论分析过的。我们的主要成果之一是，我们可以证明，即使在日本艺术史领域，新的艺术史也是可能的、必要的和重要的。

We have studied two themes for these past three years : art theories and some Japanese paintings in the medieval period. First, we have read some articles and books on gender theory, feminist theory, queer theory, homosocial theory and post-colonial theory. We have invited some scholars from Tokyo University, Harvard University and others to Gakushuin University in order to collaborate with them as well. As the result, we have realized the methods of "New Art History, " especialy the logic of the gaze, are useful for interpreting arts. Second, we have analyzed some specific art works, such as : handscroll paintings of the Tale of Genji, the Diary of Laby Murasaki ; Obusuma Saburo, and the story about Kuwanomidera Temple depicted by Tosa Mitsumochi, as well as the album of the paintings of the Tale of Genji as depicted by Tosa Mitsunobu and his atelier. We have concluded that any paintings from any dates have a great deal of political meaning and functions, but until recently, many art historians had ignored everything except the issue of aesthetic form. We have also problematized the discourse of art history. For example, we submitted new interpretation of Honcho Gashi, which has never been analyzed by gender theory. One of our main fruits is that we could prove new art history is possible, necessary and significant even in the Japanese art history field.