WEKO3
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書評 生きている画家、あるいは距離の逆説―田中淳『画家がいる「場所」 近代日本美術の基層から』―
https://tobunken.repo.nii.ac.jp/records/6156
https://tobunken.repo.nii.ac.jp/records/61560348535c-4cb7-476d-8bf0-07f175b0a7cd
名前 / ファイル | ライセンス | アクション |
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389_41_Kitazawa_Redacted.pdf (6.3 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 | 書評 生きている画家、あるいは距離の逆説―田中淳『画家がいる「場所」 近代日本美術の基層から』― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Book Review: Living Painters, Or the Paradox of Distance: Tanaka Atsushi's The Place of Painter: From the basic levels of Modern Japanese Painting | |||||
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 |
北澤, 憲昭
× 北澤, 憲昭× Kitazawa, Noriaki |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | This book presents the oeuvres of nine modern Japanese painters (Kuroda Seiki, Aoki Shigeru, Kimura Shôhachi, Yorozu Tetsugorô, Kishida Ryûsei, Kawakami Ryôka, Koga Harue, Sakamoto Shigejirô and Matsumoto Shunsuke) in traditional biographical listing format. As its title indicates, this book returns to “place” as the key concept in the history of modern Japanese painting, and aims to clarify that “base.” The surrounding concepts of “topography,” “place connection,” “body,” and“religious sentiment” are positioned in mutual connection with the central concept. In other words, the “body” is the “place” in which a painter lives and this “body” is formed through a human network of “place connections” amidst the “topography that is linked to both people and nature. Similarly, “place connections are awash in the fundamental “religious sentiments of the ancient spirituality that can be sensed in each place or region. Thus the author develops the narrative surrounding the “basic levels” of painting history. In addition to these various con cepts, the author also works from the coordinates created by the combination of two dichotomies, “modernization (read Westernization) vs. Japanization” and “the individual vs. system and society. He has layered Tokyo, as the beachfront of westernization, over the concept of “modernization (westernization),” and regional Japan over the concept of “Japanization.” While following this conceptual fitting, the author develops his narrative through an easy positivism based on on-site surveys, and this structure is respected and fits true. However, there is also the sense that this structure has been repressed by the author's own sensibilities and physicality as he visited the topography of the painters under discussion. Bibliography: Tanaka Atsushi, Gaka no iru basho’: Kindai Nihon bijutsu no kisô kara [The Place of a Painter: From the base levels of modern Japanese painting], Tokyo: Brücke Publishing Inc., 380 pp., June 2005. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 389, p. 41-47, 発行日 2006-06-30 |