Kyushu University Academic Staff Educational and Research Activities Database
List of Presentations
Seinosuke Ide Last modified date:2023.06.16

Professor / Art Studies / Department of Philosophy / Faculty of Humanities


Presentations
1. Rethinking on the Art of Zen Buddhism.
2. Seinosuke Ide, Korean Paintings Amidst "Chinese-Style Paintings": Japanese Reception and International Circulation of Paintings of Peninsular Origin, Korean Art in the West: Tracing Objects from Creation to Collection, 2019.06, [URL], A number of Korean paintings of both Buddhist and secular subjects have been preserved over centuries in Japanese archipelago. These paintings of peninsular origin present an indispensable base when constructing the narrative history of Korean painting, because they contain most of the extant works from the Goryeo and the first half of the Joseon period.
In general, these paintings have been identified as Chinese in pre-modern Japan with a name of famous painters as Wu Daozi, Zhang Sigong, Li Longmian, Mao Yi, and so on, as a result of traditional Japanese connoisseurship and viewing
system for the imported paintings from the Muromachi period onwards. One may evaluate in negative their lives as migrants with ambigorus national origin, however, we cannot ignore the fact that misattribution to famous Chinese
painters have made possible for these imported objects to remain until today with high value and sometimes they even have functioned as a canon in creative reproduction of Japanese arts as in case of Ito Jakuchu.
With this in mind, my talk illuminates the diaspora of the paintings of peninsular origin with more positive concerns. Their border-crossing or transcultural journey and the reception history over the times and spaces – from their birth in
the original contexts, their moving to Japan over sea, their evaluation as Chinese paintings, the circulation to the West, the discovery of their peninsular origin, their returning and exhibition at home, and so on – should be discussed with a description opened to both local and global contexts, and as a consequence it will be proved to be new type of narrative that relativizes the narrow and institutionalized narrative of national art history..
3. Seinosuke IDE, Interactions between Hwaŏm and Ch’ŏnt’ae Buddhism as Seen through Koryŏ Amitâbha Paintings, 絵画専題演講, 2019.05.
4. Seinosuke IDE, Buddhist paintings from the Southern Song Ningbo, 絵画専題演講, 2019.05.
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6. 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。.
7. Seinosuke Ide, Interactions between Hwaŏm and Ch’ŏnt’ae Buddhism as Seen through Koryŏ Amitâbha Painting, lecture by visiting scholar, 2016.12.
8. A Wide Spectrum of Exquisiteness – Forms and Ideas of Water-Moon Avalokitesvara in Kagami-Jinja, [URL].
9. 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.
10. 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.
11. Seinosuke Ide, Buddhist Paintings from the Southern Song City of Ningbo, Lecture hosted by the Association for Asian Arts of the Cincinnati Museum of Art, 2014.03.
12. 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..
13. 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..
14. 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.
15. 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.
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16. 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..
17. Seinosuke Ide, Reception of Goryeo Buddhist Paintings in Pre-modern Japan, Arts of Korea: Histories, Challenges and Perspectives, 2012.12, [URL].
18. The Reception of Li Tang in the Buddhist Paintings.
19. The Buddhist Paintings from the Song and Yuan Dynasties: The Visual Representations of Buddhist Deities.
20. 韓国釜山市博物館.
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22. A Survey of the Topological Meaning of the Art of Ningbo, [URL].
23. Multiple Spheres of the Ningbo Buddhist Painting; Individuality of the Art of Work and its Identity.
24. Multiple Spheres of the Ningbo Buddhist Painting; New Interpretation on the Five Hundred Lohans of the Daitokuji Temple.
25. Representing the Self: The Zen Portrait of Jiansin Laifu.
26. Contemporary Meaning of Making High Digital Contents of Art Works in Art History, Japan, Symposium on the research of the National Tresure Otoku Nehan (Nirvana Painting of Kongobuji temple), Tokyo National Museum, (08/05,2004).
27. The Reception of Northern Song Artistic Practice in Goryeo Buddhist Painting: The Representation of Mt. Potalaka in the Water-Moon Avalokitesvara of Kagami Shrine(Ide Seinsouke Shirono Seiji), Department of Art, National Research Institute for Cultural Properties, Tokyo. 24.03,2004.
28. Identity of a Painting and the Existence of the Painter: In the Case of Buddhist Paintings Attributed to Xijin Jushi and Zhang Sigong, Session 2: The "Travel Diaries" of Objects, the 26th International Symposium
on the Preservation of Cultural Properties "Moving Objects-Time, Space, and Context-", Tpkyo National Museum, 03/12,2002..
29. Imitation, Amplification and Refuse of Other Culture-from the viewpoint of the Circulation and Reception of Chinese Representation of Nirvana in Japan, the 36th open lecture, Department of Art, National Research Institute for Cultural Properties, Tokyo, 18/10,2002.
30. Reception of Chinese Buddhist Painting in Midieval Japan, Symposium for the Special Exibition on Similalities and Differencies-Tresures of Liaoning, Kanagawa and Kyonggi Provance, Kyonggi Provincial Museum, 28-05,2002.
31. In and Around the Value of Chinese Art, symposium on "the Value System for Art", the 55th Annual Meeting of the Japan Art History Society, Tohoku University, 26/05,2002..
32. Image Production Now in Art Historical Reserch in Japan, the 11th seminar of the Information for the Humanities in Japan, Center Library of the University of Tokyo, 19/11,2001.
33. Daitoku-ji's Five Hundred Rakan Paintings and Hsi-shih Shui-lu Seminary on Lake Tong-ch'ien, Symposium 1:"New Perspectives on the Study of Sung Chinese History", Program of the Tokyo Session, the 46th INTERNATIONAL CONFERENCE OF EASTERN STUDIES, 18-05,2001..
34. An Access to Chinese Literati Culture -in the Case of Japanese Zen Monk, Iko Tokken and his Contribution to the Arts of Zen Monastry, the 32nd open lecture, Department of Art and Department of Arcives, Tokyo National Research Institute of Cultural Properties, 21/10,1998..