The aim of this paper is to clarify the architectural structure of buildings in paintings through analysing pictorial representations. What we mean by pictorial representations is the two-dimensional representation of architectural objects. More specifically, we examined
Boki-e, a set of painting scrolls produced in medieval Japan, and identified the
munamochibashira (base-to-ridge post) structure of the buildings painted on them. The pictorial representations may solely represent what we would see in reality or may include elements we would not see as well. The
fukinuki yatai technique used in Japanese paintings since early times is the latter type of pictorial representation, providing a downward view of the inside of a building by omitting elements above a certain height, viz., roof and ceiling in the case of
Boki-e. By architectural structure we refer to the framework of major elements that support the building. Techniques such as
fukinuki yatai can capture the architectural structure of a building by presenting its relevant elements, including those that would be hidden from the eye from the chosen angle.
We focused on the structure with base-to-ridge posts because whether it was used in medieval Japan or not was an issue. If we find that structure in paintings produced during that period, such as
Boki-e, it is likely that buildings with the structure actually existed at that time.
We selected
Boki-e as the subject of our study because it had a number of characteristics that were advantageous for our purpose: it is painted clearly in a detailed manner; its year of production and authorship are determined; and it uses the
fukinuki yatai technique so that we can see the structure of buildings.
In order to know the details of the architectural structure painted in
Boki-e, we paid special attention to how the joints of the horizontal (beam) and vertical (column/post) elements are drawn in the painting and discerned if the vertical post is separated at the joint or not. As for the horizontal elements, we carefully observed
kugikakushi (nail head covers) and
funahijiki (boat-shaped bracket arms) in particular.
kugikakushi were painted on the
uchinori nageshi (beams above doors or windows), and
funahijiki had
nokigeta (eave purlins) on top of them. We found that, of the buildings painted in the
fukinuki yatai style, the two horizontal elements,
uchinori nageshi and
nokigeta, were shown at the same height. That is to say, the two horizontal elements at different heights in real buildings were painted as one material, either as
uchinori nageshi or
nokigeta. The conflated horizontal elements were merely set onto the vertical elements (with the technique called
katafuta). As such, there is no separation of the vertical elements at the joints with the horizontal ones. Thus, we demonstrated that, among the vertical elements, those that reach the ridge are
munamochibashira (base-to-ridge posts) as they are not separated at the joint with the horizontal materials.
In our examination of
Boki-e, we identified the characteristics of the horizontal elements by focusing on the nail head covers and boat-shaped bracket arms and analysed the pictorial representation of those characteristics. As a result, we found that in a number of cases the vertical elements, painted in different ways, were supporting the ridge directly (i.e., base-to-ridge posts) without being separated at the joint with the horizontal elements. We think that it is safe to assume that the houses painted in
Boki-e represent those which existed in medieval Japan. Therefore, we concluded that there indeed were buildings with the base-to-ridge post structure at that time.
View full abstract