WEKO3
アイテム
{"_buckets": {"deposit": "ddc5b201-4d19-4609-82ac-9e0d9d198324"}, "_deposit": {"created_by": 3, "id": "6034", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6034"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006034", "sets": ["951"]}, "author_link": ["28632", "28633", "28634", "28635"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "2012-01-13", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "405", "bibliographicPageEnd": "102", "bibliographicPageStart": "82", "bibliographic_titles": [{"bibliographic_title": "美術研究"}, {"bibliographic_title": "The bijutsu kenkyu : the journal of art studies", "bibliographic_titleLang": "en"}]}]}, "item_10001_description_5": {"attribute_name": "抄録", "attribute_value_mlt": [{"subitem_description": " Today, in the history of Chinese paintings, Shi Tao (1642-1707) has been widely recognized from the perspective of the \u0027individual school. This is the result of ongoing and consistent research. In particular, this study has been focused by artists and historians in 20th Century despite the ambiguity of authenticity in grasping the characteristics of the formalistic style. This phenomenon of the research on Shi Tao would be closely related with Chinese nationalism called as anti-Qing awareness and the historical view of anti-Imperialism.\n In this point, this study puts weigh on a new perspective as the renovation of anti-siwang or lin-mo (imitation) in the tradition of lin-mo according to the rise of traditionalism loomed large in the 20th century in China. The reason is because a pictorial perspective was also born in the modern\u0027 view which considered Shi Tao as an individual school and is because individualism, which is called originality, was affected by the attention of evaluation in the whole of Chinese arts today.\n Shi Tao, who was paid attention too by both traditionalism and reformism which are the two main\nstreams in the development of Chinese paintings, can be considered that he presented modern explanations in different ways in that the two school showed individuality.\n Thus, in this writing, I focus on the point that Shi Tao was accepted in the standpoint of subjective individuality, \u0027Impressionist Style of contemporary art, to individualists. Also, I would like to concentrate on the point that Shi Tao was the object of renaissance of traditionalism as an alternative to overcome siwang school.\n In the popularity of Shi Tao which became more intensified in coming into the 20th century, the modern meaning, in which Shi Tao was accepted as a value of a painting in the literary artist\u0027s style re-evaluated with nanga\u0027s coming to the fore as the classics of the Orient in Japan, can be found. Also, Shi Tao became in the limelight as the collection of collectors circulating as an ancient tradition in the art market of metropolis in China. This coeval popularity rather enacts the dynamic of the classics of the Orient as colonialism in Korean modern arts in Korea and is still analyzed in the modern phenomenon.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "文, 貞姫"}], "nameIdentifiers": [{"nameIdentifier": "28632", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "喜多, 恵美子"}], "nameIdentifiers": [{"nameIdentifier": "28633", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Moon, Jung-hee", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "28634", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Kida, Emiko", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "28635", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2017-10-05"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "405_82_Moon_Redacted.pdf", "filesize": [{"value": "10.6 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 10600000.0, "url": {"label": "405_82_Moon_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6034/files/405_82_Moon_Redacted.pdf"}, "version_id": "9e748e56-ba78-4f54-9ca2-fdbb73a63517"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "上海画壇・反四王・黄賓虹・豫園書画善会・呉昌碩・銭痩鉄・海上題襟館金石書画会・潘天寿・張大千・北京画壇・改良主義・斉白石・劉海粟・金正喜・金瑢俊・新南画主義", "subitem_subject_scheme": "Other"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "journal article", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "石濤、近代における「個性」という評価の視線(日韓シンポジウム特輯 人とモノの「力学」―美術史における「評価」―)", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "石濤、近代における「個性」という評価の視線(日韓シンポジウム特輯 人とモノの「力学」―美術史における「評価」―)"}, {"subitem_title": "Shi Tao, the Sight of Evaluation as the Modern Individualism", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["951"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6034", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6034", "relation": {}, "relation_version_is_last": true, "title": ["石濤、近代における「個性」という評価の視線(日韓シンポジウム特輯 人とモノの「力学」―美術史における「評価」―)"], "weko_shared_id": 3}
石濤、近代における「個性」という評価の視線(日韓シンポジウム特輯 人とモノの「力学」―美術史における「評価」―)
https://tobunken.repo.nii.ac.jp/records/6034
https://tobunken.repo.nii.ac.jp/records/60340cd47cff-626e-4896-b467-d18c36b90fa6
名前 / ファイル | ライセンス | アクション |
---|---|---|
405_82_Moon_Redacted.pdf (10.6 MB)
|
Item type | 学術雑誌論文 / Journal Article(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 石濤、近代における「個性」という評価の視線(日韓シンポジウム特輯 人とモノの「力学」―美術史における「評価」―) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Shi Tao, the Sight of Evaluation as the Modern Individualism | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 上海画壇・反四王・黄賓虹・豫園書画善会・呉昌碩・銭痩鉄・海上題襟館金石書画会・潘天寿・張大千・北京画壇・改良主義・斉白石・劉海粟・金正喜・金瑢俊・新南画主義 | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
著者 |
文, 貞姫
× 文, 貞姫× 喜多, 恵美子× Moon, Jung-hee× Kida, Emiko |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Today, in the history of Chinese paintings, Shi Tao (1642-1707) has been widely recognized from the perspective of the 'individual school. This is the result of ongoing and consistent research. In particular, this study has been focused by artists and historians in 20th Century despite the ambiguity of authenticity in grasping the characteristics of the formalistic style. This phenomenon of the research on Shi Tao would be closely related with Chinese nationalism called as anti-Qing awareness and the historical view of anti-Imperialism. In this point, this study puts weigh on a new perspective as the renovation of anti-siwang or lin-mo (imitation) in the tradition of lin-mo according to the rise of traditionalism loomed large in the 20th century in China. The reason is because a pictorial perspective was also born in the modern' view which considered Shi Tao as an individual school and is because individualism, which is called originality, was affected by the attention of evaluation in the whole of Chinese arts today. Shi Tao, who was paid attention too by both traditionalism and reformism which are the two main streams in the development of Chinese paintings, can be considered that he presented modern explanations in different ways in that the two school showed individuality. Thus, in this writing, I focus on the point that Shi Tao was accepted in the standpoint of subjective individuality, 'Impressionist Style of contemporary art, to individualists. Also, I would like to concentrate on the point that Shi Tao was the object of renaissance of traditionalism as an alternative to overcome siwang school. In the popularity of Shi Tao which became more intensified in coming into the 20th century, the modern meaning, in which Shi Tao was accepted as a value of a painting in the literary artist's style re-evaluated with nanga's coming to the fore as the classics of the Orient in Japan, can be found. Also, Shi Tao became in the limelight as the collection of collectors circulating as an ancient tradition in the art market of metropolis in China. This coeval popularity rather enacts the dynamic of the classics of the Orient as colonialism in Korean modern arts in Korea and is still analyzed in the modern phenomenon. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 405, p. 82-102, 発行日 2012-01-13 |