Kyushu University Academic Staff Educational and Research Activities Database
Researcher information (To researchers) Need Help? How to update
Seinosuke Ide Last modified date:2018.05.27



Graduate School
Undergraduate School
Other Organization
Other
Administration Post
Other


E-Mail
Homepage
http://www2.lit.kyushu-u.ac.jp/aesthe/
Web Page of the Department of Aesthetic and Art history, in the Faculty of Letters, the Kyushu University .
Academic Degree
Master Degree
Country of degree conferring institution (Overseas)
No
Field of Specialization
History of Arts of East Asia
Total Priod of education and research career in the foreign country
00years00months
Outline Activities
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
Research Interests
  • 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
    2004.04~2023.03.
Current and Past Project
  • 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.
Academic Activities
Books
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).
Papers
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, 237-253, 2014.05, 宋代の仏教絵画史の課題を、日本に伝来してきた模倣作を使いながら復元的に考察する意欲的な論文。復元可能な模倣作のもつ絵画史的な機能を、従来の日本絵画史のみの視点からでなく、より広範な東アジア絵画史の土俵にたって再検討するための理論的な立場を明確化している。境界から日中双方の広がる言説空間を総合的に検討している。.
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).
Presentations
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, 2016.12, 元時代における東アジア諸地域、とりわけ高麗と日本における仏画の動向について考察した。.
2. Seinosuke Ide, Interactions between Hwaŏm and Ch’ŏnt’ae Buddhism as Seen through Koryŏ Amitâbha Painting, lecture by visiting scholar, 2016.12.
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.
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.
6. Seinosuke Ide, The Five Hundred Luohan Paintings of the Temple Daitokuji , The Visual Studies Forum Lecture, Universityof Kenturcky, 2014.03, In this lecture, Ide will examine the paintings’ nearly 1000-year history, beginning with their original production context in Song dynasty China. He will trace the artworks’ journey to Japan at the beginning of the Medieval Age, and explore their reception at the Daitoku-ji Zen temple. Finally, he will relate the story of how the paintings found their way to America and survey their significance in the modern global context. Ide is Professor of Art History in the Department of Philosophy at Kyushu University in Fukuoka, Japan. He is one of the world’s leading experts on international contacts in Buddhist art, and has published many books and articles on Buddhist-related connections between China, Korea, and Japan..
7. Seinosuke Ide, Buddhist Paintings from the Southern Song Ningbo, Co-sponsored Lectures 2013-14, Stanford University, 2014.02, 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. Professor Ide will be considering the multilayered meanings and functions of the identity of these works by reinterpreting them in their original cultural and social contexts..
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.
9. Seinosuke Ide, From Text to Context: Secularization in Parinirvana Paintings of the Southern Song
, International Conference: Moving Signs and Shifting Discourses, 2013.06, In East Asia it was long the aim of parinirvana paintings (C. fuoniepan tu, J. butsunehan zu仏涅槃図) to depict as faithfully as possible the story of the Buddha’s death as related in sutras and their commentaries. With the advent of the Song period and the increasing secularization of Buddhist painting, however, parinirvana paintings began to depart from the content of sutras, and innovative examples began to emerge that reflected popular, everyday views of life and death. This presentation explores such transformations in Chinese parinirvana paintings through a consideration of examples created in the Ningbo 寧波 region (Zhejiang province) by Lu Xinzhong 陸信忠 (Nara National Museum) and Zhou Siliang 周四郎 (Nakanobōji中之坊寺, Aichi Prefecture).

Ningbo, which prospered through East Asian maritime trade during the Southern Song period, was also a center for Buddhist culture. In particular Yanqing si延慶寺, located within Ningbo’s city walls, was known as a training center for the academic study of Tiantai doctrine. It is noteworthy that Yanqing si developed a close network of local lay believers through a confraternity based upon Amitabha Pure Land belief. As a context for the activities of secular Buddhist painters and the production of previously unwitnessed parinirvana paintings, it is useful to presuppose the demand of such a prosperous demography of urban commoners.

The examples by Zhou Siliang and Lu Xinzhong depart greatly from earlier parinirvana paintings in their incorporation of Pure Land elements into scenes of the Buddha’s passing. As their secularization progressed, these Ningbo paintings, which connect the death of the Buddha to rebirth in the Pure Land, changed in meaning by inching closer to the Daoist concept of immortality. Eventually they would develop into the extremely “Chinese” parinirvana paintings characteristic of the Ming and Qing periods.
.
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, [URL], At the boundary of two countries, a wide horizon can be seen revealing complex relations that have not yet been researched. This paper will discuss a group of Song Buddhist paintings called Sōhon [Song originals] that until now have been treated marginally within the concept of Sino-Japanese art history.
There are many divergent views on the national origin of Song Buddhist paintings imported to Japan since the medieval age. Therefore, the paintings have been placed at the fringe of Sino-Japanese painting history until now, and there has not been adequate discussion about them. But in terms of the art-historical significance of Sōhon paintings, if they function as a substitute for Song Buddhist painting, it does not make a big difference whether they are Chinese originals or faithful reproductions.
As a crossing point that combines a Chinese viewpoint stepping into Japan and a Japanese viewpoint stepping into China, the Sōhon Buddhist paintings hold a bi-directional position in Sino-Japanese relations. This fascinating group of paintings complements the history of Chinese painting more abundantly than previously assumed and elucidates the selective reception of Chinese Buddhist art in Japan.
By presenting representative Sōhon examples, my aim is to prepare an initial framework aimed at reconstructing the history of East Asian painting..
11. Seinosuke Ide, Reception of Goryeo Buddhist Paintings in Pre-modern Japan, Arts of Korea: Histories, Challenges and Perspectives, 2012.12, [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.
14. 韓国釜山市博物館.
15. , [URL].
16. A Survey of the Topological Meaning of the Art of Ningbo, [URL].
Membership in Academic Society
  • International Comittee of History of Art
Educational
Educational Activities
1)Research on Art works around Fukuoka Prefecture and Kyushu Region
2)Lectures on the History of Paintings of China and Korea
3)Lectures on the Japanese Reception of Chinese and Korean Art
4)Practical Lectures for Museum Studies
5)Practical Seminar for Writing Thesis
Other Educational Activities
  • 2016.10.
Social
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..