著者

陳 韻如 都甲 さやか

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.417, pp.1-42, 2016-01-21

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“Bird-and-flower” and “landscape” subject matter had both already appeared in Chinese painting during the Tang dynasty. Despite differences from the perspective of discourse with landscape painting, which had developed its own, no specialized terminology for bird-and-flower painting had appeared at that time. Nevertheless, the history of bird-andflower painting from the Tang to Song dynasties is of great importance. This study analyzes significant results in the development of bird-and-flower painting between the Tang and Song dynasties (eighth to eleventh centuries). In doing so, the author has discovered that changes and developments in the idea of “landscaping” led to a process of incubation, formation, and development for bird-and-flower painting during the Tang to Song period. Several essential points in the study include the following. First, archaeological evidence from wall paintings reveals that, in the period between the eighth and ninth centuries, bird-and-flower subject matter developed out of the different categories of figure painting and decorative design. Second, the study shows the maturation of “natural landscaping” around the ninth and tenth centuries, in which refined scenery was arranged in a painting according to the nature of the things depicted therein, representing the beginnings for the foundation of an independent bird-andflower painting category. And third, with the achievements of such painters as Huang Quan and Huang Jucai in the latter half of the tenth century, the results originally in “natural landscaping” went through a period of change, leading to the pursuit of a further developments for a “fusion of feeling and setting” seen in the paintings of Cui Bo later in the eleventh century. This study points out that the construct of “painting surface” in bird-and-flower painting of the eleventh century differed from that of the previous generations. Not only did “units” develop according to the nature of things on the “painting surface,” an emphasis was placed on the relationship between these “units” to form a “fusion” of unity, thereby expressing further meaning and implication beyond the view of nature in the painting. The probe in this study of a series of developments explains the “transformations in bird-and-flower painting” in terms of trajectories, influences, and art-historical significance.