| Seinosuke Ide | Last modified date：2023.06.16 |
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Homepage
https://kyushu-u.pure.elsevier.com/en/persons/seinosuke-ide
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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
01years00months
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
Membership 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
2004.04～2023.03.
- Korean Paintings Amidst “Chinese-Style Paintings”: Comprehensive research on the Reception of the Paintings of Peninsular Origin and their International Circulation
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, this resesearch 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. - 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 edition of "the Comprehensive catalogue of the Chinese Paintings"(Tokyo University Press). The project already have completed its total editions from the first to the third one by the end of the year 2020.
- 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.
Books
| 1. | A Comprehensive Look: The Cultural Biography of the Daitokuji Five Hundred Luohans from its Local to Global Contexts, [URL]. |
| 2. | Buddhist Paintings Brought to Japan from Song-Yuan China, Japanese Art no.418, Shibundo, (Tokyo:2001).. |
| 3. | The Paintings of Southern Song in the collection of the National Palace Museum of Peijing and Taipei, NHK Publication, (Tokyo:1998). |
Papers
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. |
| 5. | , [URL]. |
| 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, 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.. |
| 12. | 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.. |
| 13. | 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. |
| 14. | 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. . |
| 15. | 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.. |
| 16. | Seinosuke Ide, Reception of Goryeo Buddhist Paintings in Pre-modern Japan, Arts of Korea: Histories, Challenges and Perspectives, 2012.12, [URL]. |
| 17. | The Reception of Li Tang in the Buddhist Paintings. |
| 18. | The Buddhist Paintings from the Song and Yuan Dynasties: The Visual Representations of Buddhist Deities. |
| 19. | 韓国釜山市博物館. |
| 20. | , [URL]. |
| 21. | A Survey of the Topological Meaning of the Art of Ningbo, [URL]. |
- Buddhist Arts
- 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
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
- 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..
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