WEKO3
アイテム
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There is, however, a tendency in these studies to focus on the relatively larger groups of the period, and thus there has yet to be a full study of smaller groups with their own specialized activities. The Sango-kai, discussed in this essay, is an example of these smaller groups. The Sangokai was formed in Taishô 4 and held a total of ten exhibitions, the last being in Taishô 13, and thus can be seen as a small group active through the very heart of the Taishô period. There has yet to be a straightforward examination or consideration of their activities or thus it has been hard to express the actual nature of their activities. This article focuses particularly on the activities of the Sango-kai, and reexamines their position within the history of modern art.\n The Sango-kai was founded by eight members, Ikeda Eiji, Ogawa Usen, Ogawa Senyô, Kawabata Ryûshi, Tsuruta Gorô, Natori Shunsen, Yamamura Kôka, and Hirafuku Hyakusui. From the group\u0027s second exhibition onward, this initial group of eight was joined by Morita Tsunetomo, and from the fourth exhibition, by Kondô Kôichiro, and Ishizuka Kan. Sakai Sanryo joined from the 8th exhibition, while Okamoto Ippei joined during the 9th exhibition, bringing the number of participants over time to 13 members.\n After first considering the background of the group\u0027s formation, this article then refers to notations found in newspapers and magazines of the period regarding the works displayed in their exhibitions and the detailed contents of their exhibitions. This essay is arranged around the chronological examination of their successive exhibitions. Then, based on this organized information about the works exhibited, the author examines the special characteristics of the Sango-kai.\n These special characteristics are, a tendency towards decorative paintings, a tendency towards manga-esque work, and a relationship between the paintings and the literary arts, particularly in the form of haiga. The first of these characteristics, the decorative tendency, can be seen in the development of a full-color, richly ornate painting style in which the subjects are either Asian or southern in nature. In terms of the formative aspect of these works, we can note the particularly strong use of gold pigment in their palettes. Next, their manga-esque or comic tendency can be seen in the works of each of the artists who entered paintings in the Sango-kai exhibitions and their relationship to the manga comics or illustrations which were published in various types of newspapers or magazines. The author examines the manga quality seen in the Sangokai works, the critiques such works received, and the stance of each of the painters towards this manga-esque expression. Finally, the author will consider the relationship with the literary arts, particularly haiga. The author touches on the relationship between each of the Sangokai members and their tanka and haiku poetry, noting the state of their literary tendencies. Particular note is made of the relationship between these artists and the haiku magazines of the early Taishô period, such as Sôun and Unmo.\n Finally, the author will discuss the relationship between the special characteristics of the Sango-kai artists and the new literati painting style that appeared in Japanese painting at the end of the Meiji and beginning of the Taishô periods. This will emphasize manga-esque and haiga-esque elements in the formative and image aspects of the new literati paintings of the period.\n The Sango-kai was a gathering of like-minded men from amongst the astute young and middle-aged painters of the day. The content of their works surpassed that of a simple like-minded gathering, and their shared painting tendencies and the direction of their activities shows a firm grasp of the new movements of the Taishô period. 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珊瑚会論考
https://tobunken.repo.nii.ac.jp/records/6266
https://tobunken.repo.nii.ac.jp/records/6266aa25970f-4ccd-4901-892f-0d342d1b2d5b
名前 / ファイル | ライセンス | アクション |
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377_30_Kikuya_Redacted.pdf (34.6 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 | 珊瑚会論考 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Thoughts on the Sango-kai | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 小川芋銭 農村春の行事絵巻(東京 山種美術館蔵)・小川芋銭 田家春の巻稿(東京 山種美術館蔵)平福百穂・池田永治・小川千甕・川端龍子・鶴田吾郎・名取春仙・山村耕花・森田恒友・近藤浩一郎・石塚翰・酒井三良・岡本一平 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Spring Scenes in a Farming Village, by Ogawa Usen, Yamatane Museum of Art / Spring Scenes in a Farming Village (Sketch), by Ogawa Usen, Yamatane Museum of Art | |||||
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 |
菊屋, 吉生
× 菊屋, 吉生× Kikuya, Yoshio |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Recent years have seen a reconsideration and re-evaluation of the state of Nihonga during the Taishô period. There is, however, a tendency in these studies to focus on the relatively larger groups of the period, and thus there has yet to be a full study of smaller groups with their own specialized activities. The Sango-kai, discussed in this essay, is an example of these smaller groups. The Sangokai was formed in Taishô 4 and held a total of ten exhibitions, the last being in Taishô 13, and thus can be seen as a small group active through the very heart of the Taishô period. There has yet to be a straightforward examination or consideration of their activities or thus it has been hard to express the actual nature of their activities. This article focuses particularly on the activities of the Sango-kai, and reexamines their position within the history of modern art. The Sango-kai was founded by eight members, Ikeda Eiji, Ogawa Usen, Ogawa Senyô, Kawabata Ryûshi, Tsuruta Gorô, Natori Shunsen, Yamamura Kôka, and Hirafuku Hyakusui. From the group's second exhibition onward, this initial group of eight was joined by Morita Tsunetomo, and from the fourth exhibition, by Kondô Kôichiro, and Ishizuka Kan. Sakai Sanryo joined from the 8th exhibition, while Okamoto Ippei joined during the 9th exhibition, bringing the number of participants over time to 13 members. After first considering the background of the group's formation, this article then refers to notations found in newspapers and magazines of the period regarding the works displayed in their exhibitions and the detailed contents of their exhibitions. This essay is arranged around the chronological examination of their successive exhibitions. Then, based on this organized information about the works exhibited, the author examines the special characteristics of the Sango-kai. These special characteristics are, a tendency towards decorative paintings, a tendency towards manga-esque work, and a relationship between the paintings and the literary arts, particularly in the form of haiga. The first of these characteristics, the decorative tendency, can be seen in the development of a full-color, richly ornate painting style in which the subjects are either Asian or southern in nature. In terms of the formative aspect of these works, we can note the particularly strong use of gold pigment in their palettes. Next, their manga-esque or comic tendency can be seen in the works of each of the artists who entered paintings in the Sango-kai exhibitions and their relationship to the manga comics or illustrations which were published in various types of newspapers or magazines. The author examines the manga quality seen in the Sangokai works, the critiques such works received, and the stance of each of the painters towards this manga-esque expression. Finally, the author will consider the relationship with the literary arts, particularly haiga. The author touches on the relationship between each of the Sangokai members and their tanka and haiku poetry, noting the state of their literary tendencies. Particular note is made of the relationship between these artists and the haiku magazines of the early Taishô period, such as Sôun and Unmo. Finally, the author will discuss the relationship between the special characteristics of the Sango-kai artists and the new literati painting style that appeared in Japanese painting at the end of the Meiji and beginning of the Taishô periods. This will emphasize manga-esque and haiga-esque elements in the formative and image aspects of the new literati paintings of the period. The Sango-kai was a gathering of like-minded men from amongst the astute young and middle-aged painters of the day. The content of their works surpassed that of a simple like-minded gathering, and their shared painting tendencies and the direction of their activities shows a firm grasp of the new movements of the Taishô period. Their use of subject matter also deserves firm mention in the history of modern Japanese art. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 377, p. 30-52, 発行日 2003-02-28 |