WEKO3
-
RootNode
アイテム
靉光《眼のある風景》をめぐって（上）
https://tobunken.repo.nii.ac.jp/records/6053
https://tobunken.repo.nii.ac.jp/records/6053c131ac9d-367a-4cff-b2e2-c9311cbb1c9e
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
410_38_Ootani_Redacted.pdf (1.3 MB)
|
.png)
|
| 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 | 靉光《眼のある風景》をめぐって（上） | |||||||||
| タイトル | ||||||||||
| タイトル | Ai-Mitsu’s Landscape with Eye (Part I) | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | ［東京国立近代美術館蔵・「シュルレアリスム」・瀧口修造］ | |||||||||
| 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 |
大谷, 省吾
× 大谷, 省吾
× Otani, Shogo
|
|||||||||
| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | Landscape with an Eye (1938) by Ai-Mitsu (1907–1946) is an altogether puzzling painting. The single eye, peering out at the viewer from the midst of a strange, lumpen, fleshy form, exerts a strong impression on its viewer, and yet a sense of mystery remains, what is the lump of flesh, whose eye is it? This painting is often called “a major example of Japanese Surrealism,” but what in fact actually influenced the painter to create this work? And is this positioning of the work appropriate? While various scholars have expressed a diverse range of interpretations, there has yet to be an established theory about the painting. In 2010 the Independent Administrative Institution National Research Institute for Cultural Properties, Tokyo, conducted an infrared photographic examination of the Landscape with an Eye. This article is an attempt at reinterpreting the painting on the basis of the new facts discerned from that examination. In detail, Part 1 considers the studies have been conducted on the work in the past and summarizes the previous issues raised, while Part 2 (to be published in Bijutsu Kenkyû 411) will discuss what new interpretations are possible based on the findings of the photographic survey. Part 1 Issues Were Raised by Previous Studies Landscape with an Eye was displayed in the 8th Dokuritsu Bijutsu Kyôkai exhibition held in 1938, where it was awarded the Dokuritsu Prize. At the time it was simply titled “Landscape [Fûkei].” Its current title was given to the work by a friend of the artist when a retrospective of Ai- Mitsu’s works was held in the post-war era. In 1966 the painting was acquired by the National Museum of Modern Art, Tokyo, and around that time the judgment that the painting is a major example of Surrealist painting created in Japan was set. Detailed analysis of the work and studies of its influence relationship particularly advanced in the years since the 1988 retrospective. Previous studies of the work have largely heralded two theories about the nature of the unidentified form that occupies the majority of the composition, stating it is either a lion, or a tree stump. From 1936 onwards, Ai-Mitsu visited the Ueno Zoological Gardens and made various sketches of the animals in the zoo and particularly created a large number of works with lion motifs. In all of these works the depiction of the lion is not literal and explanatory, but rather a section of the beast that would emerge from amidst a dark setting, or the animal is shown lying on its back. Thus he had a distinctive way of painting lions, and there are many scholars who believe that Landscape with an Eye was painted as along the trajectory from these lion images. In other words, up until now the persuasive argument has been that while he first began depicting lions, as he advanced in his depiction, gradually their forms were transformed, finally arriving at the creation of puzzling forms like that seen in this painting. There is also the theory that the form is simply the base of a tree stump. Mori Shikô, a painter and friend of Ai-Mitsu’s, recalled that around the first half of the 1930s Ai-Mitsu got a tree stump from the local gardener and brought it into his studio, where he used it in composing his paintings. In addition to the tree stump, Ai-Mitsu’s studio also included a mix of various objects, from bird corpses to dried fish and small stones. Thus the theory exists that these objets became the starting point for some of his works. There are convincing elements to both the lion and the tree stump theories. It is hard to deny either, and indeed one of the fascinating elements of this works is the duality of its images, and the fact that its images stand in the gap between formation and dismantling. On the other hand, there is one thing that is clearly painted in the composition, the eye. Up until now many of the scholars who have discussed the work have focused on the idea that in 1938, in other words a time when Japan was at war, Ai-Mitsu felt a sense of oppression, and the owner of this eye has been interpreted as either Ai-Mitsu himself, or it has been interpreted as the watchful eye of authority oppressing free expression. Dehara Hitoshi has noted the print by the Renaissance sculptor Jean Goujon that was published in the catalogue of the Fantastic Art, Dada, Surrealism exhibition held at the Museum of Modern Art, New York in 1936. This print was then re-published in the Japanese magazine Mizue. Dehara goes on to state that given the use of a “collage method in which a human eye was placed in the midst of an unrelated boulder,” Landscape with an Eye was in fact influenced by Surrealism. The fact that this strange lump in the composition has multiple interpretations also links it to Salvador Dali’s double image technique, and further suggests a Dali influence in the slight bit of horizon line visible on the right edge of the composition. For these reasons Dehara concluded that Landscape with an Eye is a major example of Japanese Surrealism. There are also those who have indicated the influence of Max Ernst and Kurt Seligmann. In fact, points in common between the Landscape with an Eye and Ernst’s series of forest paintings can also be indicated in areas such as the manner in which the border between forest and sky was painted. Seligmann himself came to Japan in 1936 and held a solo exhibition, and the glass paintings displayed in that show may have given Ai-Mitsu hints on layered pigment application. Ai-Mitsu was in fact influenced by all three – Dali, Ernst and Seligmann. However, is Landscape with an Eye simply a copy of the new Western trend known as Surrealism? Takiguchi Shûzô, an art critic who knew Ai-Mitsu recalled, “The voices he heard from Surrealism were actually unique to Ai-Mitsu. Truly, I remember feeling that there was something sudden in the way he took in Ernst.” Takiguchi had the impression that Ai-Mitsu deviated quite a bit from original Surrealism. Isn’t it this deviated bit itself that is important. What was it? Wasn’t there some way of opening painting to new potential in this deviation? What we must first clarify is this point. Then, if this kind of potential can be found in Landscape with an Eye, I propose that we should not position this Landscape with an Eye as “Surrealist painting in Japan,” but rather we should assign it a different position, one suitable for this new potentiality. The 2010 infrared examination of the painting will open the path to such a new interpretation. Part 2 of this article will discuss these issues in detail. |
|||||||||
| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 410, p. 38-54, 発行日 2013-09-13 |
|||||||||
