WEKO3
アイテム
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図版解説 狩野芳崖筆 岩石図[東京藝術大学蔵]
https://tobunken.repo.nii.ac.jp/records/6372
https://tobunken.repo.nii.ac.jp/records/6372694a405d-a0a2-46e1-919f-a76182e815d5
名前 / ファイル | ライセンス | アクション |
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325_37_Satou_Redacted.pdf (6.3 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 | 図版解説 狩野芳崖筆 岩石図[東京藝術大学蔵] | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Explanation of Plate: “Rocks” by Hogai Kano (Tokyo National University of Fine Arts and Music) | |||||
言語 | ||||||
言語 | jpn | |||||
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 |
佐藤, 道信
× 佐藤, 道信× Sato, Doshin |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | “Rocks” was painted by Hōgai KANŌ in the twentieth year of the Meiji Era (1887), a year before his death. Presently the painting is owned by the Tokyo National University of Fine Arts and Music. The significance of the work lies in the fact that the painter pursued a new three-dimentional effect through the use of shades. Contemporaneously, Ritsugaku KIMURA, a colleague of Hōgai's, executed “Moon Viewing amongst the Rocks” whose main purpose was to portray the light. It seems that such works were produced mainly by the artists affiliated to the painting association Kangakai. In his theoretical background of the activity, he was, no doubt, inspired by Fenollosa. Also owned by the Tokyo National University of Fine Arts and Music is a hand-painted model book by Hōgai entitled Hōgai Edehon. This book contains nine circular designs with abstract arrangement of different tones. They seem to be experiments of three-dimentional effect and use of shading. This bespeaks that the expression of the light and shade might have been a constituent of the educational principles of the Tokyo Art School at its outset. The traditional texture strokes of Chinese origin, “axe-cut ts‘un”, were also incorporated in order to enhance the sense of three-dimentionality, particularly in the depiction of the rocks. Such an eclectic attitude, combining the Oriental and Occidental painting techniques, on the part of Hōgai is indicative of his persistence as an Oriental artist notwithstanding his practice of Fenollosa's principles. The author considers “Rocks” as important material which manifests the outcome of the meeting of Oriental and Occidental art and testifies the significance of the roles played by Hōgai and Fenollosa in the formative period of the novel Japanese painting. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 325, p. 37-40, 発行日 1983-09-30 |