Prof. Ôta Shôko 太田昌子
Kanazawa College of Art, Faculty of Art, Department of Fine Art
Selected Publications
“Muromachi jidai no bijutsu 室町時代の美術 [Art of the Muromachi period]”. In:
Ajia no bijutsu アジアの美術. Tokyo: Kadokawa Shoten 角川書店, 1971.
“Hamamatsu-zu no seiritsu to tenkai 浜松図の成立と展開 [The genesis and development of Hamamatsu pictures]”. Bi to rekishi 美と歴史 1976: 1/2, pp. 11-24.
“Nihon no shoki suibokuga-shi no saikento 日本の初期水墨画史の再検討 [A re-evaluation of the history of early Japanese ink painting]”. Bijutsushi 美術史 1982:112, pp. 95-114.
“Byakue Kannon-zu no kenkyû nado 白衣観音図の研究など [A study of the Byakue Kannon]”. In: Mainichi Shinbunsha Shuppankyoku Jûyô Bunkazai Iinkai Jimukyoku 毎日新聞社出版局重要文化財委員会事務局(Ed.): Zenrin gasan: Chûsei suibokuga o yomu 禅林画賛：中世水墨画を読む. Tokyo: Mainichi Shinbunsha: 毎日新聞社, 1987.
Uri to ryûja 瓜と龍蛇 [Gourd and dragon]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 1). Tokyo: Fukuonkan Shoten 福音館書店, 1989.
Ten no hashi, chi no hashi天の橋・地の橋 [The bridge in the heaven, bridges on earth]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 2). Tokyo: Fukuonkan Shoten 福音館書店, 1991.
“Shidoji engi-e no katari no kôzô 志度寺縁起絵の語りの構造 [The narrative structure of the Shido-engi pictures] “. In: Nihon Geijutsu Kankôkai 日本芸術振興会 (Ed.): Nô to engi-e 能と縁起絵. Tokyo: Nihon Geijutsu Kankôkai 日本芸術振興会, 1991.
“Byôbu-e o yomu: Taishôkan byôbu ni tsuite 屏風絵を読む：大織冠屏風について [Reading screen paintings: On the Taishôkan screens]. In: Asahi Shinbunsha 朝日新聞社 (Ed.): Kindai 近代 (Miru, yomu, wakaru Nihon no rekishi 見る・読む・わかる日本の歴史, Bd. 3). Tokyo: Asahi Shinbunsha 朝日新聞社, 1992.
Chôchû gigo 鳥獣戯語 [Frolic tales of birds and small animals]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 3). Tokyo: Fukuonkan Shoten 福音館書店, 1993.
“Jigoku to ryûgû to ôdera to: ‘Shidoji engi-e’ ni miru 地獄と竜宮と大寺と-「志度寺縁起絵」にみる [The hell, the dragon’s palace, and grand temples: Regarding the Shidoji engi pictures]”. In: Ôta Shôko e.a. (Ed.): Oni to daibutsu鬼と大仏. Tokyo: Asahi Shinbunsha 朝日新聞社, 1994.
“Azuchi-jô no naka no tenka 安土城のなかの天下 [The realm inside Azuchi castle]”. In: Asahi Shinbunsha 朝日新聞社 (Ed.): Azuchi-jô no naka no ‘tenka’: Fusuma-e o yomu 安土城の中の「天下」：襖絵を読む. (Asahi hyakka Nihon no rekishi: Rekishi o yominaosu 朝日百科・日本の歴史：歴史を読みなおす; 16). Tôkyô: Asahi Shinbunsha 朝日新聞社, 1995.
Matsushima-zu byôbu: Zashiki kara tsuzuku umi 松島図屏風：座敷からつづく海 [The Matsushima screens: The sea unfolding from an interior] “.(E wa kataru 絵は語る; 9). Heibonsha 平凡社, 1995.
Haru, natsu, aki, fuyu 春・夏・秋・冬 [Spring, summer, autumn, and winter]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 4). Tokyo: Fukuonkan Shoten 福音館書店, 1995.
Jinsei no kaidan人生の階段 [The life of man]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 5). Tokyo: Fukuonkan Shoten 福音館書店, 1999.
“Higashi Ajia ni okeru umi no imêji 東アジアにおける海のイメージ [images of the sea in East Asia]“. In: Nihonkai-gaku no shin-seiki: Kanryû suru bunka to bi 日本海学の新世紀：環流する文化と美. Kadokawa Shoten 角川書店, 2002.
| 1979 - 1980 | Hosei University, part-time teacher |
| 1981 - 1996 | Musashi University, part-time teacher |
| 1990 - 1996 | Sugino Gakuen University, part-time teacher |
| 1989 | Museum Metropolitan, special staff |
| 1990 | New York University, special lecturer |
| for more information see the profile on READ (Directory Database of Research and Development Activities) | |
Lectures at the Institute of East Asian Art History
Lecture: Decorative Arts in Japan
together with Melanie Trede
in Japanese with german consecutive interpreting
Tuesday 9:00 am - 11:00 am, ÜR
Start: 18.11.2008
The theme of this lecture is Japanese decorative art. Decoration is found everywhere, on the surface of everything in our life. Major accents, this time, will be placed on Japanese traditional craftworks, such as lacquered utensils, ornamented kimonos, painted ceramics, and metalwork accessories. The theme itself is so universal that comparative approaches, for instance, between east and west, modern and premodern, will always be encouraged. My focus is, however, "the sense of place," so to speak. Where does decoration appear, say, on ancient letter boxes, and where, how, and by whom have those boxes been used? Thus, the form and meaning of the decorative pattern should be investigated in connection with the design and function of the object within the whole context of the society. The four lectures will consist of (1) The uniquely Japanese "Scattering Pattern"(chirashi mon’yô), (2) The role of the image of "water" and "air": the problem of "figure and ground", (3) Landscape and four seasons in decoration, (4) Decoration and narrative.
together with Melanie Trede
in Japanese with german consecutive interpreting
Tuesday 9:00 am - 11:00 am, ÜR
Start: 18.11.2008
The theme of this lecture is Japanese decorative art. Decoration is found everywhere, on the surface of everything in our life. Major accents, this time, will be placed on Japanese traditional craftworks, such as lacquered utensils, ornamented kimonos, painted ceramics, and metalwork accessories. The theme itself is so universal that comparative approaches, for instance, between east and west, modern and premodern, will always be encouraged. My focus is, however, "the sense of place," so to speak. Where does decoration appear, say, on ancient letter boxes, and where, how, and by whom have those boxes been used? Thus, the form and meaning of the decorative pattern should be investigated in connection with the design and function of the object within the whole context of the society. The four lectures will consist of (1) The uniquely Japanese "Scattering Pattern"(chirashi mon’yô), (2) The role of the image of "water" and "air": the problem of "figure and ground", (3) Landscape and four seasons in decoration, (4) Decoration and narrative.
Seminar: Narrative, Media, and Society: On Pictured Tale of Prince Shotoku
together with Melanie Trede
in Japanese with german consecutive interpreting
Thursday 11:00 am - 1:00 pm, ÜR
Start: 20.11.2008
There are two prominent types of painting in terms of media: "wall" type and "book" type. Religious narrative pictures were in the East and the West done in a mural or a hanging scroll format as well as in a hand scroll or an illustrated book format. These two are quite different, both in the ways of looking at and as the means of visual communication. The Tale of Prince Shôtoku, the progenitor of Japanese Buddhism, was a cherished theme of the religious narrative picture produced time and again in both media. As the central piece for this seminar, we will take up the earliest mural version of this theme, which was painted and enshrined in the eleventh century at the special hall of Hôryûji Temple the Prince himself had founded. A comparative study of it against other works of various painting formats will be very useful for understanding this mural.
One interesting feature I have explored about this huge mural cycle is the so-called "embedded structure" in relation of the painting to its location, none other than the places in which the Prince's life was lived. The point is how all the events of Prince Shôtoku's life are grouped and distributed over the whole composition framed by the three walls of the hall. The students will be invited to the travel into the painting, equipped with the detailed scenario of the narrative and the Google Earth map of all the sites on which the Prince left his footsteps on.
together with Melanie Trede
in Japanese with german consecutive interpreting
Thursday 11:00 am - 1:00 pm, ÜR
Start: 20.11.2008
There are two prominent types of painting in terms of media: "wall" type and "book" type. Religious narrative pictures were in the East and the West done in a mural or a hanging scroll format as well as in a hand scroll or an illustrated book format. These two are quite different, both in the ways of looking at and as the means of visual communication. The Tale of Prince Shôtoku, the progenitor of Japanese Buddhism, was a cherished theme of the religious narrative picture produced time and again in both media. As the central piece for this seminar, we will take up the earliest mural version of this theme, which was painted and enshrined in the eleventh century at the special hall of Hôryûji Temple the Prince himself had founded. A comparative study of it against other works of various painting formats will be very useful for understanding this mural.
One interesting feature I have explored about this huge mural cycle is the so-called "embedded structure" in relation of the painting to its location, none other than the places in which the Prince's life was lived. The point is how all the events of Prince Shôtoku's life are grouped and distributed over the whole composition framed by the three walls of the hall. The students will be invited to the travel into the painting, equipped with the detailed scenario of the narrative and the Google Earth map of all the sites on which the Prince left his footsteps on.
Selected Publications
“Muromachi jidai no bijutsu 室町時代の美術 [Art of the Muromachi period]”. In:
Ajia no bijutsu アジアの美術. Tokyo: Kadokawa Shoten 角川書店, 1971.“Hamamatsu-zu no seiritsu to tenkai 浜松図の成立と展開 [The genesis and development of Hamamatsu pictures]”. Bi to rekishi 美と歴史 1976: 1/2, pp. 11-24.
“Nihon no shoki suibokuga-shi no saikento 日本の初期水墨画史の再検討 [A re-evaluation of the history of early Japanese ink painting]”. Bijutsushi 美術史 1982:112, pp. 95-114.
“Byakue Kannon-zu no kenkyû nado 白衣観音図の研究など [A study of the Byakue Kannon]”. In: Mainichi Shinbunsha Shuppankyoku Jûyô Bunkazai Iinkai Jimukyoku 毎日新聞社出版局重要文化財委員会事務局(Ed.): Zenrin gasan: Chûsei suibokuga o yomu 禅林画賛：中世水墨画を読む. Tokyo: Mainichi Shinbunsha: 毎日新聞社, 1987.
Uri to ryûja 瓜と龍蛇 [Gourd and dragon]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 1). Tokyo: Fukuonkan Shoten 福音館書店, 1989.
Ten no hashi, chi no hashi天の橋・地の橋 [The bridge in the heaven, bridges on earth]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 2). Tokyo: Fukuonkan Shoten 福音館書店, 1991.
“Shidoji engi-e no katari no kôzô 志度寺縁起絵の語りの構造 [The narrative structure of the Shido-engi pictures] “. In: Nihon Geijutsu Kankôkai 日本芸術振興会 (Ed.): Nô to engi-e 能と縁起絵. Tokyo: Nihon Geijutsu Kankôkai 日本芸術振興会, 1991.
“Byôbu-e o yomu: Taishôkan byôbu ni tsuite 屏風絵を読む：大織冠屏風について [Reading screen paintings: On the Taishôkan screens]. In: Asahi Shinbunsha 朝日新聞社 (Ed.): Kindai 近代 (Miru, yomu, wakaru Nihon no rekishi 見る・読む・わかる日本の歴史, Bd. 3). Tokyo: Asahi Shinbunsha 朝日新聞社, 1992.
Chôchû gigo 鳥獣戯語 [Frolic tales of birds and small animals]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 3). Tokyo: Fukuonkan Shoten 福音館書店, 1993.
“Jigoku to ryûgû to ôdera to: ‘Shidoji engi-e’ ni miru 地獄と竜宮と大寺と-「志度寺縁起絵」にみる [The hell, the dragon’s palace, and grand temples: Regarding the Shidoji engi pictures]”. In: Ôta Shôko e.a. (Ed.): Oni to daibutsu鬼と大仏. Tokyo: Asahi Shinbunsha 朝日新聞社, 1994.
“Azuchi-jô no naka no tenka 安土城のなかの天下 [The realm inside Azuchi castle]”. In: Asahi Shinbunsha 朝日新聞社 (Ed.): Azuchi-jô no naka no ‘tenka’: Fusuma-e o yomu 安土城の中の「天下」：襖絵を読む. (Asahi hyakka Nihon no rekishi: Rekishi o yominaosu 朝日百科・日本の歴史：歴史を読みなおす; 16). Tôkyô: Asahi Shinbunsha 朝日新聞社, 1995.
Matsushima-zu byôbu: Zashiki kara tsuzuku umi 松島図屏風：座敷からつづく海 [The Matsushima screens: The sea unfolding from an interior] “.(E wa kataru 絵は語る; 9). Heibonsha 平凡社, 1995.
Haru, natsu, aki, fuyu 春・夏・秋・冬 [Spring, summer, autumn, and winter]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 4). Tokyo: Fukuonkan Shoten 福音館書店, 1995.
Jinsei no kaidan人生の階段 [The life of man]. (Ima wa mukashi, mukashi wa ima 瓜と龍蛇：いまは昔 むかしは今; Bd. 5). Tokyo: Fukuonkan Shoten 福音館書店, 1999.
“Higashi Ajia ni okeru umi no imêji 東アジアにおける海のイメージ [images of the sea in East Asia]“. In: Nihonkai-gaku no shin-seiki: Kanryû suru bunka to bi 日本海学の新世紀：環流する文化と美. Kadokawa Shoten 角川書店, 2002.
Responsible:
SH
Latest Revision:
2018-05-23
