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Please use this identifier to cite or link to this item: http://hdl.handle.net/10112/7902

Title: 扇面画の美術交渉 : 日本・中国からフランスへ
Other Titles: Senmenga (fan picture) in contact with foreign cultures : From Japan, China to France
Authors: 中谷, 伸生
Author's alias: NAKATANI, Nobuo
Issue Date: 1-Apr-2013
Publisher: 関西大学東西学術研究所
Shimei: 関西大学東西学術研究所紀要
Volume: 46
Start page: 51
End page: 71
Abstract: Senmenga (fan picture, a picture painted on a fan) in East Asia is considered to have its origin in hiougi (wooden fan), which was made and used in the Imperial court in Japan at the end of the 9th century. Senmenga was created, propagated, influenced, and transformed during the course of its expansion from Japan through the Korean Peninsula to China, and as a result, became established in East Asia. Senmenga's contact with other cultures went beyond East Asia; tosen, the Chinese folding fans, were most likely introduced to Europe around the 16th century. Then the second wave of senmenga's diffusion in East Asia reached France and different parts of Europe in the 19th century. It is important to note that it was not one-way travel. For example, senmenga was originally brought from Japan to China, but it got exported back to Japan, became re-established there, and was then introduced to Europe. Also, Japanese fans brought to Korea were transformed into Koreanstyle fans and exported back to Japan. In addition, European senmenga, mostly developed in France, had some influence on Japanese painters around the late Edo period and into the Meiji period. Therefore, while spreading across various regions in East Asia and Europe, senmenga underwent a series of changes due to the influence of other cultures and also the influence it had on others. At least until the 19th century, Japanese art was not actively introduced to the world although foreign art was accepted in Japan. Senmenga’s spread across foreign countries is thus a rare case in the history of Japanese art, and it is also a complex one in that it made its way back to Japan. The diffusion of senmenga is thus a clear example of dynamic crosscultural contact of art in East Asia and Europe.
type: Departmental Bulletin Paper
URI: http://hdl.handle.net/10112/7902
ISSN: 02878151
NCID: AN0004709X
Text Version: publisher
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