WEKO3
アイテム
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This article introduces those materials, notes their particular features, and considers what value these materials hold for research. \n Shinkai Taketarô was born in 1868, the year that marked the shift from the Edo period to the Meiji period. He was born the eldest son to the family of a Buddhist sculptor in the center of present-day Yamagata city. At first he continued in the family’s work, but in 1886 he traveled to Tokyo to become a soldier. He enlisted in a cavalry regiment of the Imperial Guard. The horse figurines he created as a pastime were noticed by one of his superiors, and when he was discharged from the army in 1891, he became a pupil of Gotô Sadayuki and set out to be a professional sculptor. He distinguished himself as a wood sculptor, but his study of sculpture in Paris and Berlin from 1900–1902 led to a rising career as a Western style sculptor after his return to Japan.\n After displaying his major work, Yuami, a life-sized nude female form, in the 1st Bunten Exhibition held in 1907, he became active as one of the leading figures in the government-sponsored exhibitions of the day. He also presented works with novel expression, such as the works that he dubbed ukiyo chôkoku, literally “floating world sculptures” at exhibitions held by such private groups as the Taiheiyô Gakai and the Kokumin Bijutsu Kyôkai. From the late Meiji period onwards he created numerous bronze images, including portrait sculptures of such major figures from modern Japanese history as Prince Arisugawa-no-miya Takehito, the military figure Ôyama Iwao, Maejima Hisoka, known as the father of Japan’s postal system, and the English architect Josiah Conder, the father of modern architecture in Japan.\n The materials donated to the NRICPT cover a long period of Shinkai’s life, from the Meiji 20s when he started out as a sculptor to his final years in the early Shôwa period. They can be categorized into the following types:\n\nA. Notebooks and pocket-sized notebooks\nB. Sketches and copy drawings\nC. Documents\nD. Catalogues\nE. Photographic glass negatives and paper prints of his works\nF. Photographs and photograph albums\nG. Reference photographs (in envelopes)\nH. Large-scale photographs of the Hôryûji Kondô\nI. Picture postcards of his works\nJ. Picture postcards of modern sculptures by other artists\nK. Letters and other correspondence\nL. Biographical materials\nM. Reference materials\nN. Notebooks inherited from Hirako Takurei\n\n The materials included in Category A are: the notebooks Shinkai used in his daily life to write down ideas for works and other memos; his notes from the lectures he attended by the aesthetics scholar Ôtsuka Yasuji and the psychologist Matsumoto Matatarô at Tokyo Imperial University; and his expenses books in which he recorded his monthly finances.\n Category B consists predominantly of copy sketches and other sketches drawn during his early period, while Category C includes his curriculum vitae, contracts drawn up with foundries and others upon the creation of his works, etc. Category D consists of lists of the ceramics in his own collection and a catalogue of the books he owned on a wide range of subjects, including those about Japan, China and the West.\n Category E consists of the glass plate negatives of his major works, which have already been made publicly available on the NRICPT website. Categories F and G consist of the massive amount of photographic materials produced of his own works and their production process, while Category H contains high quality large-scale photographs of the wall murals in the Kondô, Hôryûji, Nara and Heian period Buddhist paintings. Categories I and J consist of picture postcards of sculptures. Category Iincludes works by Shinkai himself, while Category J consists of images of works by other sculptors. These two categories include many images of important works.\n Category K consists primarily of letters addressed to Shinkai from his friends and associates. Categories L and M consist mainly of materials produced and assembled by his descendants and others when they were preparing Shinkai’s biography. Category N consists of notebooks left to Shinkai by his close friend Hirako Takurei.\n These materials provide an image of the everyday life and art production process of a sculptor who personally experienced modern Japan’s process of defining the term chôkoku for the Western concept of sculpture. The pocketsized notebooks with their sketched ideas for works drawn in fresh, immediate strokes ably convey a sense of Shinkai as sculptor. The photographs of many of the works that are no longer extant give a sense of his richly experimental and diverse sculptural expression, ranging from modeled clay works to wood sculpture, sculpture in the round and relief sculpture, his use of color on his sculpture and how he tackled a wide array of subject matter. These materials urge a reconsideration of the various potentials inherent in modern Japanese sculpture.\n These materials are also not only about Shinkai himself. They also include invaluable reference materials for the study of a wide spectrum of people of his day, from Hirako Takurei, Matsumoto Matatarô and Ôtsuka Yasuji to the various individuals who were the models for his portrait sculptures. The many photographs of these various figures alone give a real feel for the history of modern Japan, and bring us all the closer to the people of that time.\n It is my hope that these materials will be a reference for scholars in a wide array of disciplines, and will serve as tools in advancing their studies. At the same time, I hope that they will bring about a reevaluation of the history of modern Japanese sculpture overall, and Shinkai Taketarô’s position within that history.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "田中, 修二"}], "nameIdentifiers": [{"nameIdentifier": "27938", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Tanaka, Shuji", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27939", "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": "416_49_Tanaka_Redacted.pdf", "filesize": [{"value": "10.4 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 10400000.0, "url": {"label": "416_49_Tanaka_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6093/files/416_49_Tanaka_Redacted.pdf"}, "version_id": "44e5bcff-9f66-480c-860e-22d989523690"}]}, "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": "研究資料 「新海竹太郎資料」について", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "研究資料 「新海竹太郎資料」について"}, {"subitem_title": "Material for Art Research, Regarding the Shinkai Taketarô Materials", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["962"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6093", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6093", "relation": {}, "relation_version_is_last": true, "title": ["研究資料 「新海竹太郎資料」について"], "weko_shared_id": 3}
研究資料 「新海竹太郎資料」について
https://tobunken.repo.nii.ac.jp/records/6093
https://tobunken.repo.nii.ac.jp/records/60937389410d-ea2f-46e9-9957-e56ac2fd0133
名前 / ファイル | ライセンス | アクション |
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416_49_Tanaka_Redacted.pdf (10.4 MB)
|
Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | 研究資料 「新海竹太郎資料」について | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Material for Art Research, Regarding the Shinkai Taketarô Materials | |||||
言語 | ||||||
言語 | jpn | |||||
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 |
田中, 修二
× 田中, 修二× Tanaka, Shuji |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The descendants of the sculptor Shinkai Taketarô (1868–1927) have recently donated en masse the extant materials related to the artist to the National Research Center for Cultural Properties, Tokyo, (NRICPT). This article introduces those materials, notes their particular features, and considers what value these materials hold for research. Shinkai Taketarô was born in 1868, the year that marked the shift from the Edo period to the Meiji period. He was born the eldest son to the family of a Buddhist sculptor in the center of present-day Yamagata city. At first he continued in the family’s work, but in 1886 he traveled to Tokyo to become a soldier. He enlisted in a cavalry regiment of the Imperial Guard. The horse figurines he created as a pastime were noticed by one of his superiors, and when he was discharged from the army in 1891, he became a pupil of Gotô Sadayuki and set out to be a professional sculptor. He distinguished himself as a wood sculptor, but his study of sculpture in Paris and Berlin from 1900–1902 led to a rising career as a Western style sculptor after his return to Japan. After displaying his major work, Yuami, a life-sized nude female form, in the 1st Bunten Exhibition held in 1907, he became active as one of the leading figures in the government-sponsored exhibitions of the day. He also presented works with novel expression, such as the works that he dubbed ukiyo chôkoku, literally “floating world sculptures” at exhibitions held by such private groups as the Taiheiyô Gakai and the Kokumin Bijutsu Kyôkai. From the late Meiji period onwards he created numerous bronze images, including portrait sculptures of such major figures from modern Japanese history as Prince Arisugawa-no-miya Takehito, the military figure Ôyama Iwao, Maejima Hisoka, known as the father of Japan’s postal system, and the English architect Josiah Conder, the father of modern architecture in Japan. The materials donated to the NRICPT cover a long period of Shinkai’s life, from the Meiji 20s when he started out as a sculptor to his final years in the early Shôwa period. They can be categorized into the following types: A. Notebooks and pocket-sized notebooks B. Sketches and copy drawings C. Documents D. Catalogues E. Photographic glass negatives and paper prints of his works F. Photographs and photograph albums G. Reference photographs (in envelopes) H. Large-scale photographs of the Hôryûji Kondô I. Picture postcards of his works J. Picture postcards of modern sculptures by other artists K. Letters and other correspondence L. Biographical materials M. Reference materials N. Notebooks inherited from Hirako Takurei The materials included in Category A are: the notebooks Shinkai used in his daily life to write down ideas for works and other memos; his notes from the lectures he attended by the aesthetics scholar Ôtsuka Yasuji and the psychologist Matsumoto Matatarô at Tokyo Imperial University; and his expenses books in which he recorded his monthly finances. Category B consists predominantly of copy sketches and other sketches drawn during his early period, while Category C includes his curriculum vitae, contracts drawn up with foundries and others upon the creation of his works, etc. Category D consists of lists of the ceramics in his own collection and a catalogue of the books he owned on a wide range of subjects, including those about Japan, China and the West. Category E consists of the glass plate negatives of his major works, which have already been made publicly available on the NRICPT website. Categories F and G consist of the massive amount of photographic materials produced of his own works and their production process, while Category H contains high quality large-scale photographs of the wall murals in the Kondô, Hôryûji, Nara and Heian period Buddhist paintings. Categories I and J consist of picture postcards of sculptures. Category Iincludes works by Shinkai himself, while Category J consists of images of works by other sculptors. These two categories include many images of important works. Category K consists primarily of letters addressed to Shinkai from his friends and associates. Categories L and M consist mainly of materials produced and assembled by his descendants and others when they were preparing Shinkai’s biography. Category N consists of notebooks left to Shinkai by his close friend Hirako Takurei. These materials provide an image of the everyday life and art production process of a sculptor who personally experienced modern Japan’s process of defining the term chôkoku for the Western concept of sculpture. The pocketsized notebooks with their sketched ideas for works drawn in fresh, immediate strokes ably convey a sense of Shinkai as sculptor. The photographs of many of the works that are no longer extant give a sense of his richly experimental and diverse sculptural expression, ranging from modeled clay works to wood sculpture, sculpture in the round and relief sculpture, his use of color on his sculpture and how he tackled a wide array of subject matter. These materials urge a reconsideration of the various potentials inherent in modern Japanese sculpture. These materials are also not only about Shinkai himself. They also include invaluable reference materials for the study of a wide spectrum of people of his day, from Hirako Takurei, Matsumoto Matatarô and Ôtsuka Yasuji to the various individuals who were the models for his portrait sculptures. The many photographs of these various figures alone give a real feel for the history of modern Japan, and bring us all the closer to the people of that time. It is my hope that these materials will be a reference for scholars in a wide array of disciplines, and will serve as tools in advancing their studies. At the same time, I hope that they will bring about a reevaluation of the history of modern Japanese sculpture overall, and Shinkai Taketarô’s position within that history. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 416, p. 49-75, 発行日 2015-08-10 |