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Juxtaposing Brushes: Painting Collaborations in Early Modern Japan

机译:并列画笔:近代日本的绘画合作

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This dissertation centers on a group of eighteenth-century collaborative paintings from Japan that juxtapose deities and immortal figures with Japanese maidens. The paintings---Kume the Immortal by Kano Terunobu and Nishikawa Sukenobu, Fukurokuju with Courtesan and Geisha by Kitao Shigemasa, Isoda Koryusai, and Tanshukusai Shoboku, and Enma and His Mirror by Ko Sokoku and Katsukawa Shunsho---feature combinations of distinct painting modes, brushed by painters of different ateliers. Produced on silk with rich colors, they were time and labor intensive works that required complex logistical coordination and high material costs. These collective endeavors and others like them raise issues of patronage, artistic lineages, as well as painting practices.;In the three main chapters, I unravel each of these collaborative paintings, analyzing how the various layers of juxtaposition within them functioned, and what they meant to their audiences. I show that modern classifications of the paintings as ukiyo-e ("pictures of the floating world") and mitate-e ("parody pictures") fail to address the essential aspect of multiple authorship and its implications. These works, I argue, engage both juxtaposition and collaboration, so it is necessary to examine them under both rubrics to broaden our comprehension of painting production and consumption in early modern Japan.;My study compares the paintings to literary illustrations and printed works of the same subjects to investigate the significance of the collaborative process. I employ detailed formal analyses to gain a deeper understanding of painting modes and their relevance to the formation of lineages and artistic reputations. Through a close reading of contemporary sources such as Nishikawa Sukenobu's 1748 "Painting and Color Application Methods ( Gaho saishiki ho)," and Segawa Tomisaburo's 1818 published directory, The Edo Compass (Edo hokaku wake), I contextualize how painters self-identified and also how they were perceived by others. I consult, too, other primary materials such as diaries kept by painters and daimyo to explore the interactions between painter and patron. I end with a discussion of subsequent painting collaborations in the nineteenth century.
机译:本文以一组日本十八世纪的合作绘画为中心,这些绘画将神仙和不朽人物与日本少女并置。这些画作-结合了不同画作的特征-油画《神仙不朽》(Kano Terunobu和Nishikawa Sukenobu),Fukurokuju和妓女和艺妓(Kitao Shigemasa),Isoda Koryusai和Tanshukusai Shoboku,以及Enma和《他的镜子》(Ko Sokoku和Katsukawa Shunsho)。模式,由不同工作室的画家刷涂。它们是用颜色丰富的丝绸制成的,是费时费力的工作,需要复杂的后勤协调和高昂的材料成本。这些集体努力以及其他类似的努力提出了光顾,艺术世系以及绘画实践的问题。在三个主要章节中,我将解开每幅合作绘画,分析其中并列的各个层如何发挥作用,以及它们的作用。对他们的听众意味着我表明,现代绘画的分类为ukiyo-e(“浮动世界的图片”)和mitate-e(“模仿图片”)无法解决多重作者及其实质的实质。我认为这些作品既并存又相互配合,因此有必要在两种专论下进行研究,以扩大我们对近代日本早期绘画生产和消费的理解。我的研究将绘画与文学插图和日本绘画作品进行了比较。同一主题以研究协作过程的重要性。我使用详细的形式分析来更深入地了解绘画方式及其与血统和艺术声誉形成的关系。通过仔细阅读当代资源,例如Nishikawa Sukenobu的1748年“绘画和色彩应用方法(Gaho saishiki ho)”和Segawa Tomisaburo的1818年出版目录,江户指南针(Edo hokaku唤醒),我将画家如何自我识别以及别人如何看待他们。我也参考其他主要材料,例如画家和大名的日记,以探讨画家和赞助人之间的互动。最后,我讨论了19世纪以后的绘画合作。

著录项

  • 作者

    Chiong, Wai Yee.;

  • 作者单位

    Princeton University.;

  • 授予单位 Princeton University.;
  • 学科 Art history.;Asian history.
  • 学位 Ph.D.
  • 年度 2017
  • 页码 246 p.
  • 总页数 246
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:54:25

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