韓国と日本の八景障屏画における景の順序の成立とその背景

抄録

The purpose of this study is to contribute to the research on the development of the Eight Views of Hsiao-Hsiang in terms of the sequence appeared in Korea and Japan since it had been introduced from China each around 12^<th> and 13^<th> century. The sequence of the Eight Views in these two countries had changed in order of four seasons, due to various reasons. Within this study touching subjects here, suggested reasons are two, which are derived from the change of form and content of the painting. First, the change of form is that hand scrolls on which the Eight Views were represented in china become to be painted on folding screen as the Eight Views spreads over Korea and Japan, which means they need the model of more sophisticated composition for this new theme. Through from 14^<th> to 15^<th> century, models for the composition of the Eight Views in folding screen seem borrowed from four season landscape painting. As a natural result, the sequence of folding screen was arranged in order of four seasons. Second, there was also a change of the content of the Eight Views. On the one hand, criticism against government and personal sadness originated in Hsiao-Hsiang literature having long demotion history was replaced by applause for good government and ideal nature particularly in Korean and Japanese Eight Views in relation to the development of folding screen, which is more official form to the public and person of power. On the other hand, seasonal color of Mountain Market in poetry had been fixed into spring, which gave the Eight Views of Hsiao-Hsiang more seasonal characteristics with Evening Snow and Autumn Moon.