Research Note: The Colors of Memory: An Observation on the Depiction of Figural Genre Images in Pleasure Quarter Paintings
Notice bibliographique
Résumé
The Hikone Castle Museum and the National Research Institute for Cultural Properties, Tokyo, conducted an optical survey of the National Treasure-designated Hikone Screen in fiscal 2006-2007. The survey indicated that there was effective pigment differentiation based on careful compositional considerations, and that the figures' facial features, details, garments and furnishings were painted to an amazingly detailed fashion. The report of this survey was published and an international symposium, entitled Capturing the “Original”: Archives for Cultural Properties, was held in fiscal 2008 as a result. The study shed light on the relationship between the Hikone Screen and several other works in terms of specific points of resemblance, and it also raised important questions about the significance of the coloring and depictive methods of the Hikone Screen in the history of Japanese painting overall. Here the author explored the depiction of elements strikingly characteristic of the period such as the Nagoya-style obi, the purple leather tabi, the smoking equipment and samisen as found in the Hikone Screen and other early pre-modern genre scene paintings. The Nagoya-style obi and purple leather tabi were fashionable early in the 17th century and these elements were thus understood to have been painted in a limited and intentional fashion in these paintings. Ihara Saikaku's novel Five Women Who Loved Love, published in 1686, intentionally depicted purple leather tabi as a relic of a former age, thus confirming that leather tabi in fact had only been a passing fad. Further, the 1813 Kottôshû historical research book by Santô Kyoden indicated the Nagoya-style obi and purple leather tabi were fashionable around the Kan'ei era (1624-44), and also investigated the changes that took place in the shape and form of the samisen. It is thus known that these special characteristics accord almost entirely amongst early pre-modern genre paintings. It is clear that the Hikone Screen contains a number of old-fashioned motifs given that it dates from approximately the Kan'ei era. This feature is shared with two other works that share many points in common with the Hikone Screen, namely, Scene of a Card Game (Art Research Center, Ritsumeikan University) and Genre Figures, which is said to depict the romance between Lady Senhime and her husband Honda Heihachirô (The Tokugawa Art Museum). Further, it is possible that the main characters who both died young in Scene of a Card Game and Genre Figures were depicted after their deaths. In the past, it was understood that early pre-modern genre paintings depicted figures in the style of their day, but these three works not only depict clothing fashions at the very end of their favor, but also seem to show a nostalgic trend. Future studies will require a detailed examination of the depictions in each individual work. Only a portion of the visual images obtained in the joint research project on the Hikone Screen were published in the report. Color images, near infrared imagery, 470 macro images of the entire work, and 394 examples of x-ray flourescence pigment materials analysis are currently being prepared for web browser availability, due to be finished during the current fiscal year. It is hoped that public availability of these materials will contribute to advances in scholarship.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,003 | 0,004 |
| Communication savante | 0,002 | 0,002 |
| Science ouverte | 0,001 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,005 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».