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| Takuma Eiga: A revisionist analysis of a fourteenth-century Buddhist painter | ||
| 作者 | Williams, Gratia Cassandra (著) |
|---|---|
| 出處題名 | Dissertation Abstracts International |
| 卷期 | v.67 n.3 |
| 出版日期 | 2006 |
| 出版者 | ProQuest LLC |
| 出版者網址 | https://www.proquest.com/ |
| 出版地 | Ann Arbor, MI, US [安娜堡, 密西根州, 美國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 學位類別 | 博士 |
| 校院名稱 | Columbia University |
| 系所名稱 | Department of Art History and Archaeology |
| 指導教授 | Murase, Miyeko |
| 畢業年度 | 2006 |
| 附註項 | 1. 536p 2. Includes bibliographical references (leaves 243-250). |
| 關鍵詞 | Eiga, Takuma; Fourteenth Century; Japan; Buddhist; Painter |
| 摘要 | This dissertation repositions the fourteenth-century artist Takuma Eiga, often cited as the last figure in the lineage of the Takuma school of Buddhist painters, in the history of Japanese painting as the head of an atelier whose benchmarks are limited to two extant works: a set of Sixteen Rakan paintings in the Fujita Museum, Osaka, and a Nehan painting in Daijuji, Mie Prefecture. Given their striking stylistic affinities, it is argued that these paintings are standard works that can be used to judge other attributions to Eiga. Individual chapters discuss the Fujita and Daijuji paintings in the context of their respective pictorial traditions and present formal analyses of their iconographic and stylistic characteristics. It is also noted that the idiosyncratic representation revealed by both works is a hallmark of the Eiga atelier. Thus, this study asserts that it is possible to envision a painting workshop in which Eiga, as the head, supervised the production of Buddhist images, made stylistic choices for their execution, and presumably painted important pictorial details. Since there are conflicting records that suggest an improbable lifetime for Eiga, the Fujita and Daijuji paintings, which are datable to around the mid-fourteenth century, provide the only viable evidence of the artist's likely period of activity. Heretofore, eight traditional Eiga attributions have been recognized as the sum of the artist's extant oeuvre. However, besides the identification of the benchmarks of the Eiga atelier, this study proposes the idea that some traditional Eiga attributions may be potentially related to non-Eiga Takuma workshops, while others have no apparent connection to Eiga or his atelier. Moreover, given that two extant ink monochrome paintings bear potentially spurious impressions of Eiga seals, the notion that this artist was a forerunner in the early development of Japanese ink painting is called into question. Through the examination of the traditional Eiga attributions, as well as those which are lesser known, this dissertation also explores a phenomenon that apparently developed among authenticators who indiscriminately ascribed pictures in disparate styles to Eiga. |
| ISBN | 9780542580901 |
| 點閱次數 | 657 |
| 建檔日期 | 2007.09.16 |
| 更新日期 | 2022.03.29 |
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