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In line with this objective, the article in this journal\u0027s 368th issue considered Kawaji Ryûkô, “a free poet of the vernacular” and the movements afoot in Japan just prior to the arrival of Post-Impressionism in this country. The article in the 369th issue attempted a reconsideration of the reception of Post-Impressionism by the literary members of the Shirakaba group. The present article, the 2nd of the second series in this group, and the next article, the 3rd in the second series, to be published in the next issue of the journal, focuses on a two-part discussion of Kimura Shôhachi (1893–1958) and the issues related to the reception of Post-Impressionism in Japan.\n The present article will focus, in its first half, on the characteristics of the Japanese reception of Post-Impressionism as found in the writings and translations of Kimura Shôhachi, followed by a reconsideration of the formation of Kimura as an individual.\n\nChapter 1 Coining New Term\n\n3) Translation-introduction-thoughts:\n Kimura Shôhachi\n\na) Kimura Shôhachi as cultural transmitter\n Kimura\u0027s start as a painter came in 1912. This year also saw the beginning of his writings. Kimura\u0027s earliest, and most energetic, writing activities centered on his translations of materials on PostImpressionism. A special issue of the magazine Gendai no Yôga [Contemporary Western Painting, no. 17] on Post-Impressionism was published in August 1913 and Kimura\u0027s full translation of C. Lewis Hind\u0027s The Post Impressionists (London, 1911) was included in the issue. Kimura was also involved in the editing of this special issue and thus, in addition the Hind book, he translated various writings by Julius Meier-Graefe, James Huneker, Theodore Duret, and others, in this issue. As a result of this breadth of its source material, Kimura included not only artists such as Van Gogh and Cezanne, but also Toulouse-Lautrec in the discussions found in this special issue. This inclusion of other painters is said to have led Kimura to switch from the use of the term “Post Impressionists” to a term he coined in Japanese “Kôki-inshô-ha” _here in its romanized form to distinguish it from the English term Post Impressionist—which literally means “late period Impressionists.” This meant that the group of painters that Roger Fry had already dubbed the “Post Impressionists” were made even more ambiguous by Kimura\u0027s broader definition of his new term, Kôki-inshô-ha. This ambiguity, possibly because of its very indeterminate nature, has meant that this term, Kôki-inshôha, continues to be used, unchanged, today.\n\nb) Circa 1912 as a period of self-formation, selfdiscovery\n\n Kimura\u0027s avid intellectual curiosity which led him to read all of the English language publications on art just starting to enter Japan lay the groundwork for the 1912 start of his active writing career and creative activities. This present section introduces previously unpublished materials, Kimura\u0027s diary (from 1911-1912), which allow us to read the thoughts of a young man of 18 and 19-one with a far-ranging curiosity that included, besides art, literature, theater, and performance arts-one who sought new information and was broadening his array of social contacts. These diary entries reveal what stimulated Kimura, what he was feeling, thinking, and anguishing about as he sought to express himself. Kimura\u0027s life at the time consisted of walking around Tokyo, painting pictures, visiting various theaters, talking with his brother and friends, reading books and writing down his impressions of the books that he read. 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後期印象派・考―一九一二年前後を中心に(中の二)
https://tobunken.repo.nii.ac.jp/records/6251
https://tobunken.repo.nii.ac.jp/records/62519a56d7e7-75a5-4425-9232-a95f4446b767
名前 / ファイル | ライセンス | アクション |
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372_20_Tanaka_Redacted.pdf (51.4 MB)
|
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(中の二) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Koki-Inshoha: Japanese Post-Impressionism around 1912 (II of Second Series) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 木村荘八 日比谷公園(明治四十五・大正元・一九一二年・小杉放菴記念日光美術館蔵)・木村荘八 いろは第十支店はなれ茶室(昭和二十九・一九五四年・個人蔵)白樺・木村荘太・岸田劉生・萬鉄五郎 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Hibiya Park, by Kimura Shohachi, Kosugi Hoan Museum of Art, Nikko / In a Detached Room of the 10th Branch of Iroha Restaurant by Kimura Shohachi, Private Collection | |||||
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 first chapter of this article sought to consider the words and actions of several key figures related to the Japanese reception of Post-Impressionist paintings around 1912. In line with this objective, the article in this journal's 368th issue considered Kawaji Ryûkô, “a free poet of the vernacular” and the movements afoot in Japan just prior to the arrival of Post-Impressionism in this country. The article in the 369th issue attempted a reconsideration of the reception of Post-Impressionism by the literary members of the Shirakaba group. The present article, the 2nd of the second series in this group, and the next article, the 3rd in the second series, to be published in the next issue of the journal, focuses on a two-part discussion of Kimura Shôhachi (1893–1958) and the issues related to the reception of Post-Impressionism in Japan. The present article will focus, in its first half, on the characteristics of the Japanese reception of Post-Impressionism as found in the writings and translations of Kimura Shôhachi, followed by a reconsideration of the formation of Kimura as an individual. Chapter 1 Coining New Term 3) Translation-introduction-thoughts: Kimura Shôhachi a) Kimura Shôhachi as cultural transmitter Kimura's start as a painter came in 1912. This year also saw the beginning of his writings. Kimura's earliest, and most energetic, writing activities centered on his translations of materials on PostImpressionism. A special issue of the magazine Gendai no Yôga [Contemporary Western Painting, no. 17] on Post-Impressionism was published in August 1913 and Kimura's full translation of C. Lewis Hind's The Post Impressionists (London, 1911) was included in the issue. Kimura was also involved in the editing of this special issue and thus, in addition the Hind book, he translated various writings by Julius Meier-Graefe, James Huneker, Theodore Duret, and others, in this issue. As a result of this breadth of its source material, Kimura included not only artists such as Van Gogh and Cezanne, but also Toulouse-Lautrec in the discussions found in this special issue. This inclusion of other painters is said to have led Kimura to switch from the use of the term “Post Impressionists” to a term he coined in Japanese “Kôki-inshô-ha” _here in its romanized form to distinguish it from the English term Post Impressionist—which literally means “late period Impressionists.” This meant that the group of painters that Roger Fry had already dubbed the “Post Impressionists” were made even more ambiguous by Kimura's broader definition of his new term, Kôki-inshô-ha. This ambiguity, possibly because of its very indeterminate nature, has meant that this term, Kôki-inshôha, continues to be used, unchanged, today. b) Circa 1912 as a period of self-formation, selfdiscovery Kimura's avid intellectual curiosity which led him to read all of the English language publications on art just starting to enter Japan lay the groundwork for the 1912 start of his active writing career and creative activities. This present section introduces previously unpublished materials, Kimura's diary (from 1911-1912), which allow us to read the thoughts of a young man of 18 and 19-one with a far-ranging curiosity that included, besides art, literature, theater, and performance arts-one who sought new information and was broadening his array of social contacts. These diary entries reveal what stimulated Kimura, what he was feeling, thinking, and anguishing about as he sought to express himself. Kimura's life at the time consisted of walking around Tokyo, painting pictures, visiting various theaters, talking with his brother and friends, reading books and writing down his impressions of the books that he read. As he noted, they were days of “walking, painting, viewing, talking, reading, writing.” The present article goes on to examine Kimura's life in three sections, i) Environment-his household setting, ii) Lifestyle-how he spent his days, and iii) Friends-his friendship with Kishida Ryûsei, Yorozu Tetsugorô and others. The continuation of this discussion will be covered in the 3rd article of the second series in the next issue, and will include the following two areas: c) Impressionists-Post Impressionists-Futurists d) The Fusain-kai. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 372, p. 20-58, 発行日 1999-03-25 |