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Particularly in the art world, this period saw the creation of new paintings that stood in opposition to the growing academic trend of Japan\u0027s Bunten exhibitions and were stimulated by the Post-Impressionist, or in Japanese Kôki-inshôha, paintings brought from Europe. These paintings surpassed the old-fashioned conceptualized paintings created in clear plein-air methods for exhibition in the Bunten and became the forerunners of the diverse trends which would develop in painting during the Taishô period. This article proposes to re-examine the characteristics of these paintings born at this turning point — both in the Imperial reign and in Japanese culture in general by focusing on the acceptance of the Post-Impressionist paintings and working from the basis of various existing studies. For the following reasons, however, I believe that we should focus this discussion on the year 1912, the year of the succession of the Taishô emperor. First, this year saw the creation of two unusual works, reproduced as color plates at the front of this journal, namely Yorozu Tetsugoro\u0027s Nude Beauty and Hiroshima Koho\u0027s Girl Dancing on a Ball produced as the artists\u0027 graduation works from the Tokyo Art School. Both paintings were stimulated by the Post-Impressionist paintings whose published reproductions were starting to be introduced in Japan at this time. Second, this same year, 1912, saw the formation of and first exhibition of the Fyuzankai (Fusain Society), a group of young unknown painters who were inspired by the advocacy of the new expression and individuality found in PostImpressionist paintings.\n This article will explore two issues. The first is the question of terminology and discourse. Not only would it be impossible to take up the entire terminology surrounding art that emerged during this period, but the question also remains as to whether such an approach would reach the pith of the issue. Thus, the first chapter will first discuss the term Kôki-inshôha, considering in turn what was used before this term, the inception of this term, and the process by which it spread, examining these points through a discussion of the activities and statements made by five key individuals concerning this term. This article will be published in three succeeding issues of this journal, and in this first section (Part I) I will reconsider the movements of Kawaji Ryûkô, the pioneer who led the way to the new trend and the situation that was in place immediately before the introduction of the term Kôki-inshôha. Then, in the second section of this article to be published in the next volume of this journal (Part II), I will discuss the understanding and activities of Yanagi Muneyoshi, Mushanokoji Saneatsu, and the other members of Shirakaba who first recognized “the compellingly natural expression of self” found in the “Post-Impressionist” paintings which were then being introduced from Europe as new paintings. I then anticipate considering Kimura Shôhachi\u0027s writing activities which further spread the term Kôki-inshôha and the role played by Hitomi Tômei as a medium for the considerable spread of the activities of Kimura Shô hachi and the other members of the Fusain Society to other genres. Through this examination, I would like to consider how European Post-Impressionist paintings inspired the art world in Japan and how their influence was not limited to art but also resonated with the new movements taking place in other genres, and thus can be considered in a broader sense as a new movement throughout Japanese culture. Finally, in Part III (chapter 2 of this article) through a discussion of the various aspects of the images depicted by these artists in their own “Post-Impressionist” paintings, I will not point out their reliance on and resemblance to other works, but instead I intend to consider the special characteristics of Japan\u0027s “PostImpressionist” paintings of this period from the aspect of what these artists saw and what they sought to express.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "田中, 淳"}], "nameIdentifiers": [{"nameIdentifier": "26412", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Tanaka, Atsushi", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "26413", "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": "368_1_Tanaka_Redacted.pdf", "filesize": [{"value": "18.7 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 18700000.0, "url": {"label": "368_1_Tanaka_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6239/files/368_1_Tanaka_Redacted.pdf"}, "version_id": "c1891e00-a7c3-4e56-a0df-659a5c814898"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "萬鉄五郎 裸体美人(一九一二年・東京国立近代美術館蔵)・広島晃甫 玉乗り(一九一二年・東京藝術大学芸術資料館蔵)口語体・川路柳虹", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Nude Beauty by Yorozu Tetsugoro, The National Museum of Modern Art, Tokyo / Girl Dancing on a Ball by Hiroshima Koho", "subitem_subject_language": "en", "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(上)", "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(上)"}, {"subitem_title": "Koki-Inshoha: Japanese Post-Impressionism around 1912 (Part I)", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["997"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6239", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6239", "relation": {}, "relation_version_is_last": true, "title": ["後期印象派・考―一九一二年前後を中心に(上)"], "weko_shared_id": 3}
後期印象派・考―一九一二年前後を中心に(上)
https://tobunken.repo.nii.ac.jp/records/6239
https://tobunken.repo.nii.ac.jp/records/623919aca9f9-434d-43fe-ab78-978fd66beaf4
名前 / ファイル | ライセンス | アクション |
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368_1_Tanaka_Redacted.pdf (18.7 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 | 後期印象派・考―一九一二年前後を中心に(上) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Koki-Inshoha: Japanese Post-Impressionism around 1912 (Part I) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 萬鉄五郎 裸体美人(一九一二年・東京国立近代美術館蔵)・広島晃甫 玉乗り(一九一二年・東京藝術大学芸術資料館蔵)口語体・川路柳虹 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Nude Beauty by Yorozu Tetsugoro, The National Museum of Modern Art, Tokyo / Girl Dancing on a Ball by Hiroshima Koho | |||||
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 |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The last year of the Meiji period and first year of the Taishô era proved to be a turning point in the history of modern culture in Japan. Particularly in the art world, this period saw the creation of new paintings that stood in opposition to the growing academic trend of Japan's Bunten exhibitions and were stimulated by the Post-Impressionist, or in Japanese Kôki-inshôha, paintings brought from Europe. These paintings surpassed the old-fashioned conceptualized paintings created in clear plein-air methods for exhibition in the Bunten and became the forerunners of the diverse trends which would develop in painting during the Taishô period. This article proposes to re-examine the characteristics of these paintings born at this turning point — both in the Imperial reign and in Japanese culture in general by focusing on the acceptance of the Post-Impressionist paintings and working from the basis of various existing studies. For the following reasons, however, I believe that we should focus this discussion on the year 1912, the year of the succession of the Taishô emperor. First, this year saw the creation of two unusual works, reproduced as color plates at the front of this journal, namely Yorozu Tetsugoro's Nude Beauty and Hiroshima Koho's Girl Dancing on a Ball produced as the artists' graduation works from the Tokyo Art School. Both paintings were stimulated by the Post-Impressionist paintings whose published reproductions were starting to be introduced in Japan at this time. Second, this same year, 1912, saw the formation of and first exhibition of the Fyuzankai (Fusain Society), a group of young unknown painters who were inspired by the advocacy of the new expression and individuality found in PostImpressionist paintings. This article will explore two issues. The first is the question of terminology and discourse. Not only would it be impossible to take up the entire terminology surrounding art that emerged during this period, but the question also remains as to whether such an approach would reach the pith of the issue. Thus, the first chapter will first discuss the term Kôki-inshôha, considering in turn what was used before this term, the inception of this term, and the process by which it spread, examining these points through a discussion of the activities and statements made by five key individuals concerning this term. This article will be published in three succeeding issues of this journal, and in this first section (Part I) I will reconsider the movements of Kawaji Ryûkô, the pioneer who led the way to the new trend and the situation that was in place immediately before the introduction of the term Kôki-inshôha. Then, in the second section of this article to be published in the next volume of this journal (Part II), I will discuss the understanding and activities of Yanagi Muneyoshi, Mushanokoji Saneatsu, and the other members of Shirakaba who first recognized “the compellingly natural expression of self” found in the “Post-Impressionist” paintings which were then being introduced from Europe as new paintings. I then anticipate considering Kimura Shôhachi's writing activities which further spread the term Kôki-inshôha and the role played by Hitomi Tômei as a medium for the considerable spread of the activities of Kimura Shô hachi and the other members of the Fusain Society to other genres. Through this examination, I would like to consider how European Post-Impressionist paintings inspired the art world in Japan and how their influence was not limited to art but also resonated with the new movements taking place in other genres, and thus can be considered in a broader sense as a new movement throughout Japanese culture. Finally, in Part III (chapter 2 of this article) through a discussion of the various aspects of the images depicted by these artists in their own “Post-Impressionist” paintings, I will not point out their reliance on and resemblance to other works, but instead I intend to consider the special characteristics of Japan's “PostImpressionist” paintings of this period from the aspect of what these artists saw and what they sought to express. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 368, p. 1-20, 発行日 1997-12-15 |