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
With most of the drawings in ‘Genji Monogatari Emaki’ depicting human figures inside a building structure, there are only two drawings that show movements of human figures: the “Yomogihu” and “Sekiya” drawings. As for the previous studies, since ‘Genji Monogatari Emaki’ had been prescribed as a segment-type emaki that portrays “a stationary world that doesn"t entail the deployment of time in principle,” it has almost never been the subject of discussions in regard to movements of human figures. If so, then, in ‘Genji Monogatari Emaki’ that portrays a stationary world in principle, in what composition do the “Yomogihu” and “Sekiya” drawings depict movements of human figures? Under the awareness of such issues, by comparatively analyzing the main contents of Monogatari (the name of genre) and Gotobagaki, this paper attempted to contemplate the ways in which the contents are projected in the drawings of emaki (The Illustrated Handscroll). As a result, confirmed was the fact that the deployment of time, --as 右, right = the past; and as 左, left = the future --which were shown in the conventional continuous-type emaki, were being applied to the movements of human figures in the “Yomogihu” and “Sekiya”drawings.
As shown, it would seem that, in the composition and the movement directions of human figures with respect to the drawings of ‘Genji Monogatari Emaki,’ a logic unique to emaki concerning time is in play and the positioning of the movements of human figures is being done in accordance with the artist’s interpretation of the contents of Monogatari.
As shown, it would seem that, in the composition and the movement directions of human figures with respect to the drawings of ‘Genji Monogatari Emaki,’ a logic unique to emaki concerning time is in play and the positioning of the movements of human figures is being done in accordance with the artist’s interpretation of the contents of Monogatari.
목차
1. はじめに
2. 『蓬生』段における詞書と物語本文の比較
3. 『蓬生』 段の絵に描かれた源氏の移動
4. 『関屋』段における詞書と物語本文の比較
5. 『関屋』段の絵における源氏と空蝉の移動
6. おわりに
参考文献
Abstract
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UCI(KEPA) : I410-ECN-0101-2016-830-001999534