藝術研究 34号
2021-09-01 発行

日本におけるモレッリ法受容の一様相 : 土居次義による障壁画研究への応用にいたるまで

Process of Acceptance of the Morelli Method in Japan until Tsugiyoshi Doi’s Application to the Study of Shoheki-ga
多田羅 多起子 大学院人間社会科学研究科 広大研究者総覧
本文ファイル
抄録
Tsugiyoshi Doi is known for applying the Morelli method to the study of early modern Japanese painting, especially wall and sliding panel paintings (Shoheki-ga ). The Morelli method is the way of identifying the artist from detailed expressions that the artist is not aware of. The details of when the Morelli method was introduced to Japan and brought into art history research have not been clarified. In this study, I traced the reception of the Morelli method in Japan prior to Doi’s research, in order to examine how the Morelli method came to be used in Doi’s research. By examining journal articles, I found that the earliest introductions of the Morelli method to Japan were the statements made by Tenshin Okakura and Toru Iwamura. I also confirmed the relationship of Doi’s research with the one by Kyoson Tsuchida, who used the method of comparing details before Doi. Tsuchida’s research, which pursued the issue of author identification of Shohekiga in a new way in the same place, Kyoto, had a significant impact on Doi. Doi’s studies are foundational in the current study of Japanese art history. It would be worthwhile to explore the origin of his characteristic methods.
内容記述
本研究はJSPS科研費9H01217(「日本美術の記録と評価についての研究―美術作品調書の保存活用」代表:江村知子)の助成を受けたものです。
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