지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The painting of waterfall designed in a ‘Tokonoma’, a small decorated alcove in the main room of the home, creates the concept of space beyond a flat canvas as well as liveliness by connecting the sound of water and wind from an outdoor garden. This also is the case of the painting of landscape in ‘the Buddha hall in the main temple of Daizyouzi’. In other words, his paintings are more than describing the natural landscape. He tried to bridge between the natural landscape and the Goddess of Mercy Bodhisattva, which transferred an entire building as a Faith space that is likened to Fudaraku mountain. The paintings of Barrier in ‘the Kotohiragu Shrine Sliding Door Paintings’ and ‘the Buddha hall in the main temple of Daizyouzi’ show Okyo"s painting style in the his latter part of life and his creativity that is a unique way of being in his composition. Moreover Okyo tried not to show off his skill of sketching from nature in his paintings but to promote harmony with surrounding nature and buildings. This harmony brings out liveliness of his paintings and makes his paintings become a part of nature as an expansion of real space. In short, Maruyama Okyo, the one of the representative painter in the late Edo period, contrived to show what the composition of his painting was about in his mature pieces of artwork. And there is no doubt that his paintings of Barrier in ‘the Kotohiragu Shrine Sliding Door Paintings’ and ‘the Buddha hall in the main temple of Daizyouzi’ are the excellent examples to show this.
목차
서론
제1장 오쿄의 사생에 대하여
제2장 고토히라궁 표서원 장벽화에 대하여
제3장 다이조지 장벽화에 대하여
결론
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UCI(KEPA) : I410-ECN-0101-2014-910-002691792