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This fact was well known by those around him, such as Ôsumi Tamezô, Furusawa Iwami and other artists. His wife Yachiyo (1883-1962), a novelist and drama critic, was one of his several transcribers. Three of the letters related to Okada in the correspondence addressed to Kuroda Seiki and today held by the TNRICP are written in Yachiyo’s beautiful handwriting.\n This article focuses on Yachiyo, the Yachiyo who was harshly criticized by the world as the “ironfisted wife” and other statements regarding her position as the wife of a painter who “could not write a single character.” It traces the tenor of her critiques of her husband, from whom she had long periods of estrangement, such as those found in the newly discovered manuscripts of novels, and considers the relationship between the painter and the novelist as seen from the vantage point of their respective works.\n Prior to marrying Saburôsuke, Yachiyo was known to the world as the drama critic with the pen name Kineijô, and she had also begun to write novels. Her first anthology of short texts, Kado no kusa, was published in April 1906 (Meiji 39) when she was 24 years old in the kazoedoshi (old Japanese system of keeping age). She married Okada on December 31st of that year. After their marriage, Yachiyo’s most active period as a writer stretched from the Meiji 40s through the Taishô period, and for her husband also, he created numerous works during that same more than a decade-long period which led to his being evaluated as a “major painter of Bijinga.”\n These facts seen in isolation would seem to indicate that their marriage brought happiness to both of them. And yet, this was not actually the case. While the creative work left by both would seem to indicate a happier state of affairs, and while it would seem at first glance that she spent the ten-plus years after their marriage in apparent harmony, this was a time in which Yachiyo’s suffering deepened, and this suffering can be thought to have nourished her writing of novels. During this same period Okada’s painting subjects broadened and changed from clothed beauties to female nudes.\n If we examine these facts in detail, we can see that In the Bath, entered by Okada in the 5th Bunten exhibition held in 1911 (Meiji 44), was a turning point for him. This was his first work since his Fragrant Flowers entered in the 8th Hakubakai exhibition held in 1903 (Meiji 36) depicting a female nude. With In the Bath as starting point, he then created a succession of major works featuring female nudes, namely Impromptu (6th Bunten, 1912), Woman Combing Her Hair (First Kokumin Bijutsu Kyôkai exhibition, 1913), Dusk (Female Nude by the Sea) (8th Bunten, 1914), Woman before Bathing (10th Bunten, 1916) and Field with Flowers (11th Bunten, 1917).\n Turning once again to In the Bath, a female nude in the bath featuring Japanese models was a traditional subject that frequently appeared in ukiyo-e bijinga. Okada, trained in the classical nude expression of Western art, took that as the starting point for his female nude images. There are extant photographs of Okada working on this painting in the studio. In each of those photos Saburôsuke is seen seated in front of the easel with Yachiyo always photographed in profile standing next to him. Further, as if suggesting the creation process of In the Bath, there also appeared in the studio images of other female nude paintings and photographic plates. In other words, the photographs taken in his own studio in 1911 show the lineage of female nude images that the Western style painter Okada had learned from Western art, essentially, the genesis of the production of In the Bath. The fact that Yachiyo was there seems to suggest that there was some sort of connection between her presence and the production of the work.\n Conversely, for Yachiyo, she could not be reconciled to Saburôsuke’s reserve after he achieved social standing, and finally chose separation as a means of handling the situation. Soon after her marriage her novelette Enogu-bako depicted one day in the relaxed life of a painter interacting with other artists. Seven or eight years after their marriage, she entrusted her own circumstances to the characters in her stories, and gradually Yachiyo herself was enveloped by a sense of alienation.\n Saburôsuke, who would not permit Yachiyo to drop the Okada name even though he was faced with the reality of it all, cannot be thought to have allowed it to affect his painting production. However, for Yachiyo, her relationship with her husband, severed by a number of separations, deeply affected her works, and indeed was something that greatly swayed her life. While it is possible to read into this the oppressive nature of the marital relationship in terms of the times, if we only consider the facts, Yachiyo returned to the couple’s home in Shimoshibuya Dateato only a week before Saburôsuke‘s death, and spent the rest of her life there.", "subitem_description_type": "Abstract"}]}, "item_10001_identifier_registration": {"attribute_name": "ID登録", "attribute_value_mlt": [{"subitem_identifier_reg_text": "10.18953/00006089", "subitem_identifier_reg_type": "JaLC"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "松本, 誠一"}], "nameIdentifiers": [{"nameIdentifier": "27986", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Matsumoto, Seiichi", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27987", "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": "2018-03-26"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "420_72_Matsumoto_Redacted.pdf", "filesize": [{"value": "1.4 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 1400000.0, "url": {"label": "420_72_Matsumoto_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6114/files/420_72_Matsumoto_Redacted.pdf"}, "version_id": "2af24ef8-9805-4c43-b4e2-f687bc0fe2ab"}]}, "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 岡田三郎助と妻八千代評判記―美術と文学の哀しき出会い―", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "研究資料 岡田三郎助と妻八千代評判記―美術と文学の哀しき出会い―"}, {"subitem_title": "Materials for Art Research: Okada Saburôsuke and his Wife Yachiyo’s Critiques of the Artist – A Sad Encounter Between Art and Literature", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["966"], "permalink_uri": "https://doi.org/10.18953/00006089", "pubdate": {"attribute_name": "公開日", "attribute_value": "2018-12-20"}, "publish_date": "2018-12-20", "publish_status": "0", "recid": "6114", "relation": {}, "relation_version_is_last": true, "title": ["研究資料 岡田三郎助と妻八千代評判記―美術と文学の哀しき出会い―"], "weko_shared_id": 3}
研究資料 岡田三郎助と妻八千代評判記―美術と文学の哀しき出会い―
https://doi.org/10.18953/00006089
https://doi.org/10.18953/00006089a483bae0-378c-48bc-90c4-2afcfb55b73f
名前 / ファイル | ライセンス | アクション |
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420_72_Matsumoto_Redacted.pdf (1.4 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2018-12-20 | |||||
タイトル | ||||||
タイトル | 研究資料 岡田三郎助と妻八千代評判記―美術と文学の哀しき出会い― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Materials for Art Research: Okada Saburôsuke and his Wife Yachiyo’s Critiques of the Artist – A Sad Encounter Between Art and Literature | |||||
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 | |||||
ID登録 | ||||||
ID登録 | 10.18953/00006089 | |||||
ID登録タイプ | JaLC | |||||
著者 |
松本, 誠一
× 松本, 誠一× Matsumoto, Seiichi |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The majority of the letters written by Okada Saburôsuke (1869-1939) were transcribed by someone else. This fact was well known by those around him, such as Ôsumi Tamezô, Furusawa Iwami and other artists. His wife Yachiyo (1883-1962), a novelist and drama critic, was one of his several transcribers. Three of the letters related to Okada in the correspondence addressed to Kuroda Seiki and today held by the TNRICP are written in Yachiyo’s beautiful handwriting. This article focuses on Yachiyo, the Yachiyo who was harshly criticized by the world as the “ironfisted wife” and other statements regarding her position as the wife of a painter who “could not write a single character.” It traces the tenor of her critiques of her husband, from whom she had long periods of estrangement, such as those found in the newly discovered manuscripts of novels, and considers the relationship between the painter and the novelist as seen from the vantage point of their respective works. Prior to marrying Saburôsuke, Yachiyo was known to the world as the drama critic with the pen name Kineijô, and she had also begun to write novels. Her first anthology of short texts, Kado no kusa, was published in April 1906 (Meiji 39) when she was 24 years old in the kazoedoshi (old Japanese system of keeping age). She married Okada on December 31st of that year. After their marriage, Yachiyo’s most active period as a writer stretched from the Meiji 40s through the Taishô period, and for her husband also, he created numerous works during that same more than a decade-long period which led to his being evaluated as a “major painter of Bijinga.” These facts seen in isolation would seem to indicate that their marriage brought happiness to both of them. And yet, this was not actually the case. While the creative work left by both would seem to indicate a happier state of affairs, and while it would seem at first glance that she spent the ten-plus years after their marriage in apparent harmony, this was a time in which Yachiyo’s suffering deepened, and this suffering can be thought to have nourished her writing of novels. During this same period Okada’s painting subjects broadened and changed from clothed beauties to female nudes. If we examine these facts in detail, we can see that In the Bath, entered by Okada in the 5th Bunten exhibition held in 1911 (Meiji 44), was a turning point for him. This was his first work since his Fragrant Flowers entered in the 8th Hakubakai exhibition held in 1903 (Meiji 36) depicting a female nude. With In the Bath as starting point, he then created a succession of major works featuring female nudes, namely Impromptu (6th Bunten, 1912), Woman Combing Her Hair (First Kokumin Bijutsu Kyôkai exhibition, 1913), Dusk (Female Nude by the Sea) (8th Bunten, 1914), Woman before Bathing (10th Bunten, 1916) and Field with Flowers (11th Bunten, 1917). Turning once again to In the Bath, a female nude in the bath featuring Japanese models was a traditional subject that frequently appeared in ukiyo-e bijinga. Okada, trained in the classical nude expression of Western art, took that as the starting point for his female nude images. There are extant photographs of Okada working on this painting in the studio. In each of those photos Saburôsuke is seen seated in front of the easel with Yachiyo always photographed in profile standing next to him. Further, as if suggesting the creation process of In the Bath, there also appeared in the studio images of other female nude paintings and photographic plates. In other words, the photographs taken in his own studio in 1911 show the lineage of female nude images that the Western style painter Okada had learned from Western art, essentially, the genesis of the production of In the Bath. The fact that Yachiyo was there seems to suggest that there was some sort of connection between her presence and the production of the work. Conversely, for Yachiyo, she could not be reconciled to Saburôsuke’s reserve after he achieved social standing, and finally chose separation as a means of handling the situation. Soon after her marriage her novelette Enogu-bako depicted one day in the relaxed life of a painter interacting with other artists. Seven or eight years after their marriage, she entrusted her own circumstances to the characters in her stories, and gradually Yachiyo herself was enveloped by a sense of alienation. Saburôsuke, who would not permit Yachiyo to drop the Okada name even though he was faced with the reality of it all, cannot be thought to have allowed it to affect his painting production. However, for Yachiyo, her relationship with her husband, severed by a number of separations, deeply affected her works, and indeed was something that greatly swayed her life. While it is possible to read into this the oppressive nature of the marital relationship in terms of the times, if we only consider the facts, Yachiyo returned to the couple’s home in Shimoshibuya Dateato only a week before Saburôsuke‘s death, and spent the rest of her life there. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 420, p. 72-84, 発行日 2016-12-19 |