The Study Of Relation Between The Screen "Torige Ritsujyo No Byoubu" And Sino-japanese Arts

Since the open-up of “the Silk Road on the sea” by Japanese envoy to Tang Dynasty,early cultural connection between Chinese and Japanese had been built. At the same time, thescreen “Torige Ritsujyo no Byoubu” was created, and now it’s a precious relics conserved byShosoin. Since the discovery of this screen in1693, the screen had been focus amongJapanese academic community, until a material investigation in Showa Period (1982-1984) bywhich the screen was defined work of Japanese art made locally by local craftsman. However,with a quantity of Chinese archaeological discovery since1970, the conclusion amongJapanese academic community has shown more problems.I started, from the perspective of origin of culture, this dissertation with the situation ofrepaired screens and the problem caused by unplanned screen-back filling with paper, andgave a new interpretation on the iconological details of the screen “Torige Ritsujyo noByoubu”.First, starting by the study of screen, I tried to discuss the germinal and rheologicalprocess of under-tree related theme. The image of tree in the screen is compositionrepresented in a large area in former dynasty. The charm of the beautiful woman in the screenmeans much more than the screen itself, and it had a profound impact on how the image ofJapanese beauty formed later.Second, regarding the common painting connection among carved stone, mural, paperpainting of Tang Dynasty, and the remaining mural cases of Tang, I questioned the “trace offeather sticking” raised by Mr. Shimada Shujiro, who believed the scratch on the screen wasmade by the painter during drafting, instead of one scratched during feather-cutting. All thisprovides another possibility for further discussion about the nature of the screen. A whitepaint of Tang Dynasty was taken across Korea to the east to Japan and Japanese craftsmantried feather-sticking on it, and it might be the way how the screen became completed.I discussed different motivation of Japanese and Chinese paintings in the dissertation.The style of “Torige Ritsujyo no Byoubu” comes from Chinese culture, has a deep tie withTang culture, and also a profound influence on Japanese art, especially on shaping, theme,painting process of later Japanese painting. From the remaining characteristic of the screen,we can see how Chinese art and Japanese art Started to be expressed and crafted differently. So that their artistic values led underJapanese and Chinese ideology, to different words of their own art style, like “writing” and“painting”,“making” and “crafting”.This dissertation is about nature of screen to different extent, and also about the relationbetween Chinese art and Japanese art as well. This is a new study about old material,discussing one single case.“Torige Ritsujyo no Byoubu” represents different artistic valuesof Chinese and Japanese arts well enough in the course of human culture.