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现藏于日本奈良东大寺正仓院的《鸟毛立女屏风》,因为其纸本表面遗留有典雅、精湛的绘画性,冈仓天心在明治二十三年(1890年)所著的《日本美术史》讲义中是把此面屏风以“唐物”①——即唐朝舶来品来定位的。然而,自明治时期的宝物调查以来,1957年发表于《书陵部纪要第八号》的文件中显示,通过对屏风表面残留羽毛荧光反射实验判明,其贴敷的羽毛属日本产山鸡羽毛,并且推定此面屏风属日本工匠在本地制作完成。但是,关于此面屏风的另一个议题逐渐成
Because of the elegant and exquisite painting inherited from the surface of paper, Masahiro Okakura’s Twenty-Three Years of Meiji (1890) In the handout of Japanese art history, this screen is positioned in the style of “Tang Dynasty” - that is, the exotic items of the Tang Dynasty. However, since the investigation of the treasure during the Meiji period, the document “Shuling Ministry Ministerial No. 8” published in 1957 shows that the residual feather fluorescence reflection test on the screen surface shows that the attached feather is a Japanese pheasant feather , And presumed that this screen is a Japanese artisans in the local production is completed. However, another topic on this screen gradually