WEKO3
アイテム
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図版解説 小山正太郎筆「秋景図」
https://tobunken.repo.nii.ac.jp/records/6341
https://tobunken.repo.nii.ac.jp/records/634153b04c3e-8f14-4906-80b8-c2137984c409
名前 / ファイル | ライセンス | アクション |
---|---|---|
357_34_Yamanashi_Redacted.pdf (5.9 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 | 図版解説 小山正太郎筆「秋景図」 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Explanation of the Plates: Koyama Shotaro “Autumn Landscape” | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 小山正太郎 吉祥寺村・小山正太郎 上板橋村・柳源吉 芝増上寺 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Autumn Landscape, Koyama Shotaro / Shiba Temple, Koyama Shotaro / Kichijoji Village, Koyama Shotaro / Kamiitabashi Village, Koyama Shotaro | |||||
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 |
山梨, 絵美子
× 山梨, 絵美子× Yamanashi, Emiko |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Although he has been recognized as an advocate of Japanese oil painting executed in the western manner, KOYAMA Shōtarō's (18571916) painting style has been very difficult to analyze. In comparison to his pencil sketches which still exist in large numbers, very few of Koyama's works in oil have survived, making it difficult to judge their style collectively as compared to the pencil sketches. The oil painting “Autumn Landscape”, formerly in the collection of Sir John Rubbock of London and returned to Japan this year, is one of Koyama's most important works because it bridges the gap between his oil painting style and pencil sketch style. The painting is similar to his pencil sketches in subject matter, composition, and atmosphere, as well as the characteristic of rendering figures in a linear manner. In a historical context, it is notable that YANAGI Genkichi' s(1858-1913) “Shiba Temple, Tokyo” was also in Sir Rubbock's collection. Both works have the Chinese characters meaning “Great Japan” in the signatures, and both Yanagi and Koyama were members of the “Jūichi-kai” which sometimes exhibited their works for sale, specifically targeting the western tourist market. Therefore, it is highly possible that both of these works were bought by Sir Rubbock at the same time during a trip he made to the Far East around 1890. | |||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 357, p. 34-37, 発行日 1993-07-30 |