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第102届东文研・GJS・ASNET共同主办学术研讨会

 

第102届东文研・GJS•ASNET共同主办学术研讨会
题目:矢代幸雄与美术史的“场”的问题
时间: 2014年10月23日（周四）17:00-18:00
地点: 东京大学东洋文化研究所大会议室
报告者: Prof. Mia M. Mochizuk (New York University Abu Dhabi / Institute of Fine Arts)
语言:英语
内容提要: Like the writings of Yashiro Yukio (1890-1975), a monumental figure in Japanese art history whose 
earliest work examined the Renaissance artist Sandro Botticelli in Morellian detail (1925), a magnificent 
set of Map screens, now in the collection of the Imperial Household Agency, have long complicated the 
notion of place in cultural interpretation straddling East and West (Fig. 1). Painted in the Jesuit workshop 
in Japan (c. 1583-1614) and in a customary Japanese format, these screens have primarily been 
considered in relation to Japanese art, despite being produced by western and western-trained artists, 
using western materials and pictorial sources, and guided by western aspirations under the aegis of the 
Society of Jesus. This paper thus proposes to rectify this lacuna by looking at the western framework for 
the production of this cross-cultural image via Yashiro’s methodology to see how the Map screens once 
more offer a critical intervention into global studies by positing an index locorum of bodily experience as 
analytic borderland for art historian and object alike.
http://gjs.ioc.u-tokyo.ac.jp/ja/events/post/141023_gjs/
参加方法: 不需事先报名
询问处: 国际综合日本学网络（GJS: Global Japan Studies）
http://gjs.ioc.u-tokyo.ac.jp/ja/contact/

第102届东文研・GJS•ASNET共同主办学术研讨会

题目:矢代幸雄与美术史的“场”的问题

时间: 2014年10月23日（周四）17:00-18:00

地点: 东京大学东洋文化研究所大会议室

报告者: Prof. Mia M. Mochizuk (New York University Abu Dhabi / Institute of Fine Arts)

语言:英语内容

提要: Like the writings of Yashiro Yukio (1890-1975), a monumental figure in Japanese art history whose earliest work examined the Renaissance artist Sandro Botticelli in Morellian detail (1925), a magnificent set of Map screens, now in the collection of the Imperial Household Agency, have long complicated the notion of place in cultural interpretation straddling East and West (Fig. 1).

Painted in the Jesuit workshop in Japan (c. 1583-1614) and in a customary Japanese format, these screens have primarily been considered in relation to Japanese art, despite being produced by western and western-trained artists, using western materials and pictorial sources, and guided by western aspirations under the aegis of the Society of Jesus.

This paper thus proposes to rectify this lacuna by looking at the western framework for the production of this cross-cultural image via Yashiro’s methodology to see how the Map screens once more offer a critical intervention into global studies by positing an index locorum of bodily experience as analytic borderland for art historian and object alike.

http://gjs.ioc.u-tokyo.ac.jp/ja/events/post/141023_gjs/

参加方法: 不需事先报名

询问处: 国际综合日本学网络

（GJS: Global Japan Studies）

http://gjs.ioc.u-tokyo.ac.jp/ja/contact/