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This book attempts to expand the grounds and methodology of
studying Japanese art history by focusing on the conditions,
procedures, events, and social interplay that characterized the
production of paintings in late-fifteenth-century Japan.
Though the book's ultimate concerns are art historical, its
analysis also draws heavily from the insights of sociology and
social history. At its core is a fresh examination of the major
primary documents of the period in an attempt to liberate the study
from assumptions long embedded in the historiography of late
medieval Japanese painting history. Early chapters describe
documents, methods, basic sites, and conditions of painting before
turning to the main contribution of the book, painting considered
as a body of social practices. The production of painting in the
late fifteenth century was profoundly social, dynamically related
to the circumstances of its agents. Painters, advisors, assistants,
clients, and others did not exert themselves simply to bring
paintings into existence. They sought advantages (such as wealth
and prestige), met obligations, and satisfied the demands of
custom.
Surviving documents from the period present rich evidence of the
involvement of such persons in the imperial court, the
Ashikaya-Gozan community, the great temples of Nara, and the halls
of local lords. The author takes into account the patterns of
expectation that existed at the various sites but does not construe
them as static and mechanically determined. Rather, he shows that
expectations evolved in response to changed conditions. Although
this study specifically addresses the last quarter of the fifteenth
century, it can aid future research in Japanese painting practice
in other eras by serving as a model of how new interpretations can
emerge from close documentary investigation.
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