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帝国大学のパブリックアート―青山熊治「九州大学工学部壁画」―
https://tobunken.repo.nii.ac.jp/records/6154
https://tobunken.repo.nii.ac.jp/records/6154084541a4-a10a-4ff0-a8b9-a6dd949680b7
名前 / ファイル | ライセンス | アクション |
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389_20_Ushirokouji_Redacted.pdf (18.9 MB)
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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 | 帝国大学のパブリックアート―青山熊治「九州大学工学部壁画」― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Public Art at an Imperial University: Aoyama Kumaji's Mural for the Engineering Department of Kyushu University | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 青山熊治 九州大学工学部壁画(昭和七年・九州大学蔵)・青山熊治 九州大学工学部壁画下絵(メナード美術館蔵)・青山熊治 九州大学工学部壁画下絵(両備バス株式会社蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Mural for the Engineering Department of Kyushu University, by Aoyama Kumaji, Kyushu University / Sketch of Mural for the Engineering Department of Kyushu University, by Aoyama Kumaji, Menard Art Museum / Sketch of Mural for the Engineering Department of Kyushu University, by Aoyama Kumaji, Ryobi Bus Co. | |||||
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 |
後小路, 雅弘
× 後小路, 雅弘× Ushiroshoji, Masahiro |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | This paper presents basic research on the Kyû shû University Engineering Department Mural created by Aoyama Kumaji (1886-1932), today in the collection of the department. This mural commemorated the retirement and 60th birthday of Dr. Nishikawa Torakichi from the Engineering Department of what was then the Imperial Kyûshû University. This mural was created by Aoyama Kumaji, Nishikawa's close associate. The massive work adorns the 4th floor conference room in the department's Main Building, whose construction was completed in Shôwa 5 (1930). Aoyama Kumaji was noteworthy for the numerous prizes he won as a youth for works submitted to Hakubakai Group exhibitions and Bunten exhibitions. After this youthful success, Aoyama left the painting establishment of Japan and drifted through Europe for close to ten years. When he returned to Japan, he reentered the exhibition process and was awarded top honors at the Teiten exhibition. This marked a full and glorious return to Japan's central painting circles. Aoyama then embarked on a dizzyingly busy career for the next five years. While he worked diligently on this mural, it was left unfinished at his sudden death in 1932. There has been almost no mention of this mural, and certainly no full study of it has been conducted, in the recent surge of studies on the history of Meiji to early Shốwa era modern Japanese mural paintings. This paper first presents the basic facts surrounding the creation of the mural and its fundamental data, thus verifying the previous commonly held information on the work. Given the period of its creation and the issues related to the commissioner and the artist, the theme of the mural can be interpreted as reflecting an Asian worldview based on Daoism. The paper then goes on to position this mural within Aoyama's cuvre, considering the political nature, if any, of the work, given its location within the conference room of the Engineering Department of Kyûshû Imperial University during the period of the Manchurian Incident. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 389, p. 20-38, 発行日 2006-06-30 |