WEKO3
アイテム
{"_buckets": {"deposit": "671433b3-b7e3-48ff-91d8-ec13a228f7c0"}, "_deposit": {"created_by": 3, "id": "6161", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6161"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006161", "sets": ["978"]}, "author_link": ["26236", "26237"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "2006-12-22", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "390", "bibliographicPageEnd": "30", "bibliographicPageStart": "1", "bibliographic_titles": [{"bibliographic_title": "美術研究"}, {"bibliographic_title": "The bijutsu kenkyu : the journal of art studies", "bibliographic_titleLang": "en"}]}]}, "item_10001_description_5": {"attribute_name": "抄録", "attribute_value_mlt": [{"subitem_description": " Previous sections of this multi-part essay have discussed the reception of Post-Impressionism in late Meiji era Japan as a single art historical research topic. (See previous sections published in issues 368, 369, 372, and 374 of Bijutsu Kenkyû). The author has sought to not simply characterize the realities of that “reception” in such terms as influence and reception, likening the process to that of a spreading wave from the center (Europe) to the periphery (Japan), or as a trickling down effect. Rather, the attempt has been to consider the facts surrounding the receiving side of the equation, and as a result of such consideration, to grasp how diversity and unique elements emerged in that reception. In other words, around the year 1912 in Japan and largely for the younger, urban generation that sought a subjective expression of themselves, as symbolized by such words as self, individuality, and ego, and valued such forms in artistic expression, Post-Impressionist painting was a new form of visual expression. As proof of this process of reception, this final section of the multi-part essay considers the poet and journalist Hitomi Tômei (1883-1974) in the following fashion.\n4. Fusain-kai and Yomiuri Shimbun Reporter Hitomi Tômei \na. As a supporter of the Fusain-kai \nb. Art and the shingeki play movement \nc. Hitomi Tômei, Kishida Ryûsei, Yorozu Tetsugoro \n The next section of the article uses an analysis of motifs in paintings created during this period to investigate the diversity of visual images of the time, here symbolized by the images of the sun and Jintan. The focus on these two visual images reflects a sense of the radiance of life found in the sun as depicted by Van Gogh, while the “Jintan” illumination can also be read as an expression of the dynamic changes occurring in the cities as they modernized.\n\nChapter 2 The Sun and “Jintan”: Images of 1912 \n1. The principles of image reception \n2.Depicted Tokyo and the symbols of the day \n3. The “Jintan” illumination\n The above sections reexamine the reception of the PostImpressionists in Japanese modern art, and consider the question, overall, of reception within the history of art.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "田中, 淳"}], "nameIdentifiers": [{"nameIdentifier": "26236", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Tanaka, Atsushi", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "26237", "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": "390_1_Tanaka_Redacted.pdf", "filesize": [{"value": "41.9 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 41900000.0, "url": {"label": "390_1_Tanaka_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6161/files/390_1_Tanaka_Redacted.pdf"}, "version_id": "450eaea1-569b-492a-9c9e-4de3ca2fc91d"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "フュウザン会・人見東明・新劇運動・太陽と仁丹・萬鉄五郎・岸田劉生・川上涼花", "subitem_subject_scheme": "Other"}]}, "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": "後期印象派・考―一九一二年前後を中心に(下)―", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "後期印象派・考―一九一二年前後を中心に(下)―"}, {"subitem_title": "Koki-Inshoha: Japanese Post-Impressionism around 1912", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["978"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6161", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6161", "relation": {}, "relation_version_is_last": true, "title": ["後期印象派・考―一九一二年前後を中心に(下)―"], "weko_shared_id": 3}
後期印象派・考―一九一二年前後を中心に(下)―
https://tobunken.repo.nii.ac.jp/records/6161
https://tobunken.repo.nii.ac.jp/records/616162307aff-c05e-4c1d-a200-9cfc8044c7e2
名前 / ファイル | ライセンス | アクション |
---|---|---|
390_1_Tanaka_Redacted.pdf (41.9 MB)
|
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 | 後期印象派・考―一九一二年前後を中心に(下)― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Koki-Inshoha: Japanese Post-Impressionism around 1912 | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | フュウザン会・人見東明・新劇運動・太陽と仁丹・萬鉄五郎・岸田劉生・川上涼花 | |||||
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, 淳
× 田中, 淳× Tanaka, Atsushi |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Previous sections of this multi-part essay have discussed the reception of Post-Impressionism in late Meiji era Japan as a single art historical research topic. (See previous sections published in issues 368, 369, 372, and 374 of Bijutsu Kenkyû). The author has sought to not simply characterize the realities of that “reception” in such terms as influence and reception, likening the process to that of a spreading wave from the center (Europe) to the periphery (Japan), or as a trickling down effect. Rather, the attempt has been to consider the facts surrounding the receiving side of the equation, and as a result of such consideration, to grasp how diversity and unique elements emerged in that reception. In other words, around the year 1912 in Japan and largely for the younger, urban generation that sought a subjective expression of themselves, as symbolized by such words as self, individuality, and ego, and valued such forms in artistic expression, Post-Impressionist painting was a new form of visual expression. As proof of this process of reception, this final section of the multi-part essay considers the poet and journalist Hitomi Tômei (1883-1974) in the following fashion. 4. Fusain-kai and Yomiuri Shimbun Reporter Hitomi Tômei a. As a supporter of the Fusain-kai b. Art and the shingeki play movement c. Hitomi Tômei, Kishida Ryûsei, Yorozu Tetsugoro The next section of the article uses an analysis of motifs in paintings created during this period to investigate the diversity of visual images of the time, here symbolized by the images of the sun and Jintan. The focus on these two visual images reflects a sense of the radiance of life found in the sun as depicted by Van Gogh, while the “Jintan” illumination can also be read as an expression of the dynamic changes occurring in the cities as they modernized. Chapter 2 The Sun and “Jintan”: Images of 1912 1. The principles of image reception 2.Depicted Tokyo and the symbols of the day 3. The “Jintan” illumination The above sections reexamine the reception of the PostImpressionists in Japanese modern art, and consider the question, overall, of reception within the history of art. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 390, p. 1-30, 発行日 2006-12-22 |