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絵画の下半身―一八九〇年〜一九四五年の裸体画問題―
https://tobunken.repo.nii.ac.jp/records/6177
https://tobunken.repo.nii.ac.jp/records/617706562ca9-f70a-44df-a8a5-2891b69fe6ca
名前 / ファイル | ライセンス | アクション |
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392_67_Kuraya_Redacted.pdf (31.3 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 | 絵画の下半身―一八九〇年〜一九四五年の裸体画問題― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Lower Half of the Painting: Japanese Nude Paintings from 1890 to 1945 | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 安井曾太郎 画室(昭和元年・財団法人広島美術館蔵)・小出楢重 裸女と白布(昭和四年・東京国立近代美術館蔵)黒田清輝 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Studio, by Yasui Sotaro, Hiroshima Museum of Art / Nude on White Cloth, by Koide Narashige, National Museum of Modern Art, Tokyo | |||||
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 |
蔵屋, 美香
× 蔵屋, 美香× Kuraya, Mika |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | This article considers the nude paintings created in the western painting style from the end of the Meiji period through the pre-war Shôwa era. First, Kuroda Seiki and the Hakubakai group artists felt that the depiction of the female lower body with female genitalia intact would set off sensual reactions and hinder the reception of the work as “fine art.” Hence they avoided such depictions, and as a result, created the standard form of nude painting in Japan in which the woman's body was covered from the waist down by a cloth, known as “koshimaki bijin,” or, literally, beauty in an underskirt. The convention, based on the idea that the nude form was transformed into something “sublime” when the vulgar lower half of the body was withheld from the viewer's gaze, was parallel to the idea of “fine art.” in 18th and 19th century Europe at large. This means that Kuroda and the others essentially grasped the transfer of art and the transfer of nude paintings from European culture as one and the same issue. Continuing, the second section of the paper discusses the transitions in the handling of the nude image by the members of the Nika Association through an examination of a number of works by Yasui Sôtarô. Here the basis for handling of the subject by the police was not simply the question of whether or not the lower body of the figure was exposed. This led to subtle renditions in which the model's pose or the viewer's gaze, with the audience varying by social class, education, age, and sex, caused division between those who believed that viewing nude paintings was acceptable, and those who considered that there was no value in viewing such works. Section three, the final section, indicates that during the early Shôwa era social attitudes towards nudes relaxed, and this lead to the rapid increase in “reclining female nude” images in which female models were stretched out long on beds or chaises. During this period the term “rafu,” literally female nude, coined by Umehara Ryûzaburô, became generally used, and the social interpretation, which continues today, that “nude painting” equals “female nude” was established. However, around 1940, as war sentiment strengthened in Japan, there was an increase in the creation of male nude images, and there was a revival of the “beauty in underskirt” imagery with women depicted in costumes imitating those of Japan's colonial territories. The above shows how this article covers transitions in the standard form of nude paintings, from “beauty in underskirt” to “reclining nude female and provides an analysis of actual art works as it considers how the nude painting and its viewing sites and viewing audiences were mutually defined and gradually differentiated into their various stances. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 392, p. 67-88, 発行日 2007-09-28 |