Literary patronage in late medieval Japan
著者
書誌事項
Literary patronage in late medieval Japan
(Michigan papers in Japanese studies, no. 23)
Center for Japanese Studies, the University of Michigan, c1993
大学図書館所蔵 全23件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes index
内容説明・目次
内容説明
The late fifteenth and early sixteenth centuries in Japan, which were dominated by social upheavals and political conflicts, were the scene of a fundamental expansion of arts patronage. This was a time of great change in all areas of Japanese life: old centralized political establishments were giving way to new provincial powers, the growth of urban centers was causing changes in trade patterns and financial institutions, and everywhere the economy was creating new centers of wealth and influence. In such an age of vitality all patterns of production and consumption were affected, including those involving the arts.
But how and under what specific conditions did these changes take place? The papers in this volume represent an attempt to answer that questions and others like it. The historical figures focused upon range from members of the imperial family and the houses of the regency to tea masters, painters, merchants, provincial daimyo, and especially renga ("linked-verse") poets, whose central place in many of the papers speaks for their prominent place in medieval artistic history. But all share a common concern with patron0-clinet relations in what many consider to be the most significant watershed in Japanese history. Because the problems dealt with are complex ones involving many levels and kinds of patronage, the essays perhaps pose more questions than they answer, but at the very least they serve the purpose of opening up a new arena of research that is essential to a full understanding of the arts in the late medieval age. In this respect they may best be understood as case studies, presented in the anticipation of further work in a long-overlooked area of cultural history.
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