Researcher Profile and Settings

URL

http://ea-art-history.jp/

researchmap

https://researchmap.jp/read0020998kono

Research Areas

• Humanities & social sciences / Art history
• Humanities & social sciences / Aesthetics and art studies

Research Experience

• Osaka Prefectural University, 1991/12 - 2013/03
• Kyoto University, Research Institute of Humanity, 助手, 1987/06 - 1991/11

Degree

• Doctor of Letters, Kyoto University, Nov. 2018

Association Memberships

• 東方学会
• 説話文学会
• 大正イマジュリー学会
• 美学会
• 美術史学会
• THE TOHO GAKKAI

Committee Memberships

• West Branch Editorial Secretariat Representative, 2020/05 - 2022/04, The Japan Art History society, Society
• West Branch Secretariat Representative, 2014/05 - 2017/04, The Japan Art History society, Society, 美術史学会
• 常任委員, 2013 - , 大正イマジュリー学会, Society, 大正イマジュリー学会

Published Papers

• The Status of Paintings and Painters :The Case of Ancient through Modern China
  KONO Michifusa
  文化学年報, (69) 45 - 63, Mar. 2020
• Positioning “Calligraphy” through Its Relationship with the Surrounding Arts
  KONO Michifusa
  美術フォーラム21, (39) 41 - 48, May 2019
• The Evolution of Landscape Painting: Classical Style Depictions of Depth in Chinese Painting
  KONO Michifusa
  STUDIES IN HUMANITIES, Alternative:The Literary Association, Doshisha University, (198) 73 - 86, Nov. 2016
  

  DOI URL
• Modeling and Structure Employed in the Northern Qi Dynasty Xu Xianxiu Tomb Wall Paintings : The Representation of Depth
  Kono Michifusa
  人文学, Alternative:The Literary Association, Doshisha University, (197) 1 - 23, 2016
  

  DOI URL
• Modeling and Structure Employed in the Northern Qi Dynasty Xu Xianxiu Tomb Wall Paintings: The Representation of Depth
  Michifusa KONO
  DOSHISHA UNIVERSTY JIMBUNGAKU, STUDIES OF HUMANITIES, Alternative:The Literary Association, Doshisha University, (197) 1 - 23, 2016
  

  DOI URL
• Chinese Texts on Painting and "KOKON CHOMON-JU", A Collection of Tales Heard, Past and Present
  Kono Michifusa
  人文学, Alternative:The Literary Association, Doshisha University, (195) 39 - 58, 2015
  

  DOI URL
• Chinese Texts on Painting and “KOKON CHOMON-JU”, A Collection of Tales Heard, Past and Present
  KONO Michifusa
  JIMBUNGAKU, Studies in Humanities, Alternative:The Literary Association, Doshisha University, (195) 39 - 58, 2015
  

  DOI URL
• 『君台観左右帳記』と中国品第論
  河野道房
  美学芸術学, (29) 21 - 34, 2014
• Chinese Argument for the Grade of Quality, Pindi and the Notes of Connoissership, KUNDAIKAN-SOCHOKI in Japan
  KONO Michifusa
  BIGAKU GEIJUTSUGAKU, (29) 21 - 34, 2014
• 「『源氏物語』と中国画論」
  河野道房
  大阪府立大学総合科学部人文学会『人文学論集』, 22集 17 - 25, 2004
• 「前近代中国絵画関係文献の形式と内容―中国「画論」史研究序説―（下）」
  河野道房
  大阪府立大学総合科学部人文学会『人文学論集』, 19集 45 - 66, 2001
• 「前近代中国絵画関係文献の形式と内容―中国「画論」史研究序説―（中）」
  河野道房
  大阪府立大学総合科学部人文学会『人文学論集』, 18集 17 - 26, 2000
• 「前近代中国絵画関係文献の形式と内容―中国「画論」史研究序説―（上）」
  河野道房
  大阪府立大学総合科学部人文学会『人文学論集』, 17集 15 - 24, 1999
• 「釈彦悰撰『後画録』考」
  河野道房
  大阪府立大学総合科学部人文学会『人文学論集』, 大阪府立大学人文学会, 14集 57 - 66, 1996
• On Wang Shen
  KONO Michifusa
  The toho gakuho : Journal of Oriental studies, 学術雑誌目次速報データベース由来, 62 345 - 372, 1990
  

  DOI URL
• 「王詵について―二画風併存の問題―」
  河野道房
  京都大学人文科学研究所『東方学報』, 62冊 345 - 371, 1990
• 「中国の鑑賞論―絵画論を中心に―」
  河野道房
  美学会『美学』, (160号) 36 - 46, 1990
• A Peculiarity in the Landscape Painting of Li Tang : with special reference to "Whispering Pines in the Mountains ("Wan he song feng")" in the National Palace Museum, Taipei
  KONO Michifusa
  Aesthetics, The Japanese Society for Aesthetics, 38(149号) 65 - 77, 1987
• 「胡舜臣筆「送郝玄明使秦図」について―転換期絵画の一様相―」
  河野道房
  京都大学文学部美学美術史学研究室『研究紀要』, 京都大学, 6(6号) 35 - 55, 1985

MISC

• 洋画家の文人画家的傾向 ― 須田国太郎の場合
  河野道房
  美術フォーラム21, (48) 74 - 82, Dec. 2023, Report scientific journal
• 兪増筆《花鳥画》研究
  河野道房
  美術フォーラム21, 美術フォーラム21 ; 1999-, 30(30) 12 - 17, 2014
• A Study of Birds and Flowers by Yu Zeng
  KONO Michifusa
  BIJUTSU FORUM 21, (30) 12 - 17, 2014
• 謝時臣筆《山水図》研究
  河野道房
  美術フォーラム21, (28) 28 - 33, 2013
• A Studu of Xie Shi-chen's Painting, Landscape
  (28) 28 - 33, 2013
• 敦煌仏爺廟湾西晋墓画像磚資料稿
  河野道房
  人文学論集, 大阪府立大学人文学会, 30(30) 1 - 16, 2012
• Notes on Bricks with Pictorial Image from West Jin Dynasty Tombs in Foyemiao Bay, Dunhuang
  KONO Michifusa
  JINMONGAKU RONSYU, (30) 1 - 16, 2012
• KOHARA Hironobu, The Study of Chinese Handscroll Painting
  KONO Michifusa
  Aesthetics, The Japanese Society for Aesthetics, 57(1) 84 - 86, 30 Jun. 2006
• Kozen Hiroshi, La theorie de la litterature chinoise (in Japanese)
  KONO Michifusa
  Aesthetics, The Japanese Society for Aesthetics, 39(4) 68 - 74, 31 Mar. 1989

Books etc

• 美術フォーラム21 48号 特集東アジア文人画の「近代」
  きょうと視覚文化振興財団
  きょうと視覚文化振興財団,醍醐書房 (販売), Dec. 2023, Joint editor, 前言 表紙解説
• 中国美術史の眺望: ――中国美術研究会論集――
  曽布川, 寛; 宇佐美, 文理
  汲古書院, 29 Nov. 2023, Joint work, 山西省朔州水泉梁出土北斉墓壁画について ――奥行き表現の萌芽――
• 書画 美への招待 書画論
  河内利治; 河野道房; 成田健太郎
  Feb. 2022, Joint work
• 美学の事典
  丸善出版株式会社, Dec. 2020, Contributor, 水墨画
• The Representation of Depth in Chinese Landscape Painting
  KONO Michifusa
  中央公論美術出版, Feb. 2018, Single work
• 『中国の美術 見かた・考えかた』担当：10章「水墨画の成立と山水画」、11章「院体画と写実主義」、12章「文人画の流れ」
  昭和堂, 2003
• 日本の中世・近世画論における中国画論の摂取状況
  河野 道房
  Mar. 2001, Single work, Report
• 『日本美術を学ぶ人のために』担当：４章「美術の生産（２）－２ 中国の画論」
  世界思想社, 2001
• 長物志 明代文人の生活と意見
  荒井健; 田中淡; 河野道房; 中島長文; 横山弘; 井波陵一; 大平桂一
  平凡社, Jan. 2000, Joint translation, 巻五 書画
• 『世界美術全集 東洋編 ３ 三国・南北朝』担当：「第二章 絵画」のうち「壁画」「石刻線画」の本文および作品解説
  小学館, 2000
• 『龍谷大学大宮図書館 和漢古典籍分類目録 哲学・芸能之部』担当：和書之部・芸能１書～２画、漢籍之部・子部５芸術類
  龍谷大学大宮図書館古典籍目録編集委員会編, 1998
• 『中華文人の生活』担当：第二章「文人画前史―発生期素描―」
  平凡社, 1994
• 『中国中世の文物』担当：「北斎婁叡壁画考」
  京都大学人文科学研究所, 1993
• 『芸術の理論と歴史』担当：第9章「中国絵画の空間表現―大観的山水画の虚と実と―」
  思文閣出版, 1990

Research Projects

• The historical development of depth representation in the Northern and Southern Dynasties paintings -- in the context of human representation
  Kono Michifusa; NI JINXIU; WANG WENLEI; SHIMAMURA KEIKO
  This research resulted in the following observations : 1) Triangular compositions of both flying monsters and of human groups in Northern Dynasties paintings may have been the earliest mode of expressing depth perspective in Chinese painting. 2) In the Han Dynasty, perspective was attempted by depicting the background in the upper part of the composition, and foreground in the lower part, but in the latter half of the Han period, groups of people and buildings were placed into trapezoid formations. In the Southern and Northern Dynasties, figures in murals were organized into triangles to represent perspective. In the Tang Dynasty, perspective was attempted by depicting a distant object small and a near one large; in addition, this period saw the establishment of a mode of perspective depth expression in which objects are shortened as they near the horizon., Japan Society for the Promotion of Science, Grants-in-Aid for Scientific Research, 2015/04 -2019/03, Grant-in-Aid for Scientific Research (C), Doshisha University
• A study on the orijin and transformation of the painting of narative : With a focus on the illustrated books of the Edo era
  ASANO Shugo; NAKABE Yoshitaka; TAKI Asako; MIYAZAKI Momo; FURUKAWA Shoichi; UEMATSU Mizuki; NISIDA Masahiro; ODAIRA Keiichi; TOKUHARA Shizuko; TANAKA Munehiro; NISIDA Masahiro
  We have studied about the problems on the painting of narative, focusing on three groups, Monogatari and Waka, Setsuwa and Butten, Domo and Kankai. We hosted a symposium especially on the painting of "Tsurezuuregusa" and on the painting of performing art, such as No, Kowakamai and Kabuki. Scholars of Japanise literature and Japanese art history had the discussion on the symposiums and we cultivated a better understanding about the problems. We compiled the results of study meetings, symposiums and exhibitions on the report at the end of the 2013 year., Japan Society for the Promotion of Science, Grants-in-Aid for Scientific Research, 2009/04 -2014/03, Grant-in-Aid for Scientific Research (B), The Museum Yamato Bunkakan
• The Study of Painting History in the Wei, Jin, and the Southern and Northern Dynasties in China, especially about the Tomb Wall Paintings
  KONO Michifusa; WANG Weiming; SHIMONO Kenji
  According to the findings of research for wall paintings of Lou Rui's Tomb, Xu Xianxiu's Tomb in Shanxi, and Fuyemiaowan Wei-Jin Tomb in Dunhuang, there might be clear about the following matters. First, the painting of Northern Dynasties, especially Northern Qi, shows the characteristic style of the other ethnic group with high completeness while the Wei-Jin painting was under the strong influence of Han dynasty style. And the oval face style of Northern Qi mural affected the Tang dynasty painting. Second, Northern Qi paintings made great progress in depicting human figures in groups and in depth expression, and made preparations for the perspective representation of landscape painting in Tang dynasty., Japan Society for the Promotion of Science, Grants-in-Aid for Scientific Research, 2008 -2012, Grant-in-Aid for Scientific Research (C), Osaka Prefecture University
• The Adoption and Absorption of Chinese Painting Theories in Middle and Modern Ages Japan
  KONO Michifusa
  This project had a three-year plan. 1998 : The investigation into the literature of chinese painting theories. 1999 : The investigation of Japanese documents about painting in ancient and medieval times. 2000 : Examining the books of painting theories in modern ages, the general report through three years. In Chapter 1 of the report, to make the basis of painting theories, I attempted to put the literature about chinese painting in order according to the two elemental ideas, 1 : the argument of appreciation (or connoisseurship), 2 : the argument of producing (or painting). The argument 1 is classified into six groups, (1)the discussion of relative merits among the subjects, (2)the classifications of painters, (3)the subject categories (or genres), (4)the painting schools, (5)the catalog of painting, (6)the biography of painters. The argument 2 into five groups, (1)the discussion of encouragement and admonishment in the subject, (2)the Six Laws, (3)the discussion of landscape painting, (4)literati painting, (5)the manual of painting. Those gradually evoluted under the influences of chinese philology in the early days and under that of the living manual of literati after Sung Dynasty. In Chapter 2, it was studied which kind of argument mentioned above influenced japanese literature on painting. As the result, there proved that 1 : a descriptive limit of real existence was pointed out in the Story of Genji, and that was similar to the idea of Huai-na-zi and Lun-heng, 2 : the kinds of literature like Lidai-minghua-ji were accepted to Kokon-chomonju through the anthology Taiping-guangji, 3 : the style of Kundaikan-sochoki, the document of known uniqueness, was concluded to be the earlier example of the living manual of literati. Because of a vast quantity of the arguments on literati painting after Kyoho Era, I could not give them my full consideration. From now on, further investigations will be expected to accomplish., Japan Society for the Promotion of Science, Grants-in-Aid for Scientific Research, 1998 -2000, Grant-in-Aid for Scientific Research (C), Osaka Prefecture University
• 受容・鑑賞の側面から見た宋代絵画の研究
  河野 道房
  日本学術振興会, 科学研究費助成事業, 1990 -1990, Principal investigator, 奨励研究(A), 京都大学