|Seinosuke Ide||Last modified date：2017.05.29|
Web Page of the Department of Aesthetic and Art history, in the Faculty of Letters, the Kyushu University .
Field of Specialization
History of Arts of East Asia
Numerous Buddhist paintings from Song- and Yuan-period China or Goryeo-period Korea were transmitted to Japan from the medieval period onward. Most bear inscriptions indicating that they were produced in either the Chinese coastal region of Ningbo (Zhejiang province) or the Goryeo kingdom. Many, however, lack a consensus as to whether they originated in China, Korea, or Japan. In some cases, a painting might be relegated to the periphery of mainstream Chinese art history, while in other cases it is given some other nationality altogether. It is no exaggeration to call Buddhist paintings imported to Japan during the premodern period conceptually a kind of "border art" that has fallen through the cracks, due to the limitations of national art historical narratives in East Asia. My current survey is on considering the multilayered meanings and functions of the identity of these works by reinterpreting them in their original cultural and social contexts.
Research InterestsMembership in Academic Society
- Survey on the Buddhist Paintings of Song and Yuan Dynasties preserved in Japan
keyword : buddhist paintings brought on ship to Japan, Chinese buddist paintings of Song and Yuan dynasties
1990.04Survey on the Original Cultural and Social Background of the Chinese Budddhist Paintings Brought to Japan..
- Survey on the Buddhist Paintings of Goryeo Kingdom, Korea.
keyword : Goryeo buddhist painting, image data for the historical research
1996.04Survey on the Buddhist Paintings of Goryeo Kingdom, Korea. In this survey, I put a special focus on clearing the boundaries of the Goryeo buddhist paintings, comparing contemporary Chinese and Japanese buddhist paintings and later works of the Joson dynasty..
- Research of the Cultural Objects( Painting and Sculpture) in Kyushu and Yamaguchi Region
keyword : Kyushu Yamaguchi Cultural Object
- Buid International Symposium: Intensive discussions on the Social Lives of the Daitokuji Five Hundred Lohans from Its Local to Global Context, and publish its proceeｄdings
- The study focused on interactions between Buddhist sutras and paintings of the Goryeo Dynasty Korea from the viewpoint of Korean reception of Chinese cannon in the perspective of East Asia.
- The primary objective of the present research is to review the formation of Japanese traditional culture by analyzing the history of the maritime cross-cultural exchange in East Asian oceanic region through inter-disciplinary studies. By saying cross-cultural exchange, we mean both human interactions and exchange of cultural objects. To be more exact, we will focus on the city of Ningbo that proliferated as a central port town facing the East China Sea and discuss how the culture of China that went through constant changes was transmitted to Japan at each period in history, what influence they brought and how they were recreated and changed in Japan.
In order to fulfill this goal, total of 137 members from history, intellectual, literary, art, and performing art histories, Buddhist studies, archeology, anthropology, architecture, naval engineering, and mathematics, led by established scholars in their 40's will conduct comprehensive, inter-disciplinary studies and aspire to reconstruct the historical origin of the culture of Japan, a nation located within the East Asian maritime region. Therefore, the present regional studies would correspond to the following two criteria as defined by "subjects" in page 16 of the public application details.
- This project already published the second editon of "the Complihensive catalogue of the Chenese Paintings"(Tokyo University Press). Then this project started to put a step to make the third edition of the catalogue.
- Chinese buddhist art preserved in Japanese collection is so to speak a conceptional border art, beause of its specific position aparting from the mainstream of Chinese art. From a point of views of Japanese reception, this survey make clear the meaning and function of these paintings in the history of Chinese and japanese art.
|1.||Buddhist Paintings Brought to Japan from Song-Yuan China, Japanese Art no.418, Shibundo, (Tokyo:2001)..|
|2.||The Paintings of Southern Song in the collection of the National Palace Museum of Peijing and Taipei, NHK Publication, (Tokyo:1998).|
|1.||Seinosuke Ide, Standing on the Fringes: An Interactive Perspective on Sōhon Buddhist Paintings in Japanese Collections, Between East and West: Reproduction in Art, Proceeding if the 2013 CIHA Colloquium in Naruto, Japan, 2014.05.|
|2.||IDE Seinosuke, Buddhist Paintings from the Song and the Yuan Dynasties: Visual Representations in the Paintings of Devotional Deities, The International Journal of Korean Art and Archeaeology, 4, pp.94-pp.115, 2011.03.|
|3.||IDE Seinosuke/Yukio LIPPIT, translated., The Microcosm of Color: Art Historical Research and the Production of Reproductions, Light and Color―絵画表現の深層をさぐる―（中央公論美術出版）, pp.225-pp.232, 2009.09.|
|4.||Deities in Descent.|
|5.||Representing the Self; Zen Portrait Painting of Jiansin Laifu.|
|6.||The World of Goryeo Dynasty Buddhist Painting: The Various Aspects of Boundaries in East Asian Arts.|
|7.||IDE Seinosuke, The World of Goryeo Buddhist Painting, Goryeo Dynasty: Korea's Age of Enlightenment(918-1392), pp.34-47 Exhibition Catalog of the Asian Art Museum of San Francisco., 2003.10.|
|8.||"Portraits of Chung-Feng Ming-Pen with Autograph Inscription", The Bijutsu Kenkyu(The Journal of Art Studies), No.343, Tokyo(1989).|
|9.||"A Portrait of Chien-chen Lai-fu of Manzaiji Temple", Bijutsushi(Journal of the Japan Art History Society), no.119(1986).|
|1.||Seinosuke Ide, 蒙元時期的東亞佛畫交流, 蒙元與中亞、東亞之藝術交流學術工作坊, 2017.12.10.|
|2.||Seinosuke Ide, Interactions between Hwaŏm and Ch’ŏnt’ae Buddhism as Seen through Koryŏ Amitâbha Painting, lecture by visiting scholar, 2017.12.02.|
|3.||A Wide Spectrum of Exquisiteness – Forms and Ideas of Water-Moon Avalokitesvara in Kagami-Jinja, [URL].|
|4.||Seinosuke Ide, Interactions between Hwaŏm and Ch’ŏnt’ae Buddhism as Seen through Koryŏ Amitâbha Paintings, Co-sponsored Lectures 2013-14, Stanford University, 2014.03.17.|
|5.||Seinosuke Ide, On Five Hundred Luohan Painting of Daitokuji: Its Production Context and Art Historical Significance in the History of Southern Song Painting, Co-sponsored Lectures 2013-14, Stanford University, 2014.03.13.|
|6.||Seinosuke Ide, The Five Hundred Luohan Paintings of the Temple Daitokuji , The Visual Studies Forum Lecture, Universityof Kenturcky, 2014.03.06.|
|7.||Seinosuke Ide, Buddhist Paintings from the Southern Song Ningbo, Co-sponsored Lectures 2013-14, Stanford University, 2014.02.27.|
|8.||Seinosuke Ide, Interactions between Hwaŏm and Ch’ŏnt’ae Buddhism as Seen through Koryŏ Amitâbha Paintings, Harvard Korean Art History Workshop 2013: "Infinite Interfusion: Buddhist Art in Korea", 2013.12.13.|
|9.||Seinosuke Ide, From Text to Context: Secularization in Parinirvana Paintings of the Southern Song
, International Conference: Moving Signs and Shifting Discourses, 2013.06.27.
|10.||Seinosuke Ide, Standing on the Fringes: An Interactive Perspective on Sōhon Buddhist Paintings in Japanese Collections, 2013 CIHA Colloquium in Naruto “Between East and West: Reproductions in Art”, 2013.01.16, [URL].|
|11.||Seinosuke Ide, Reception of Goryeo Buddhist Paintings in Pre-modern Japan, Arts of Korea: Histories, Challenges and Perspectives, 2012.12.01, [URL].|
|12.||The Reception of Li Tang in the Buddhist Paintings.|
|13.||The Buddhist Paintings from the Song and Yuan Dynasties: The Visual Representations of Buddhist Deities.|
|16.||A Survey of the Topological Meaning of the Art of Ningbo, [URL].|
- International Comittee of History of Art
Professional and Outreach Activities
The International Symposium on Ningbo Art held at the Kyushu National Museum on Dec.16and 17 in 2006. I was engaged in this symposium as a coordinater. And in the succession, I organized The International Symposium on Ningbo Art at the Nara National Museum on Aug. 9 and 10 in 2009..