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{"_buckets": {"deposit": "eca4cefc-16c9-4262-9fec-520ceaddcdac"}, "_deposit": {"created_by": 3, "id": "6606", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6606"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006606", "sets": ["1099"]}, "author_link": ["27161", "27160"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1970-05-15", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "265", "bibliographicPageEnd": "22", "bibliographicPageStart": "1", "bibliographic_titles": [{"bibliographic_title": "美術研究"}, {"bibliographic_title": "The bijutsu kenkyu : the journal of art studies", "bibliographic_titleLang": "en"}]}]}, "item_10001_description_5": {"attribute_name": "抄録", "attribute_value_mlt": [{"subitem_description": " It is widely known that European prints were imitated under the instruction of Europeans at the earliest stage of Japanese prints in an engraving method in the 1950\u0027s. On the other hand, etching was first tried in Japan by Kōkan SHIBA himself in September, 1783, as has been well known since that time. Kōkan did not learn it from Dutch instructors, but produced the method by making Gentaku ŌTSUKI, who was good at foreign language, translate Dutch literary materials in which techniques of etching are mentioned. He frequently propagated the idea that it was his “invention..\n Kōkan simply called the Dutch book he consulted “that book”. Gentaku also did not refer to the name of the book. Kōkan however, included the following passage : “in the book by a Dutch person called BUYS” in his book Seiyōga-dan (Story of Western Pictures), published in the eleventh year of Kansei Era, that is, sixteen years after his innovation of the etching method, and he also has the following passage: “in a Dutch book called BUYS” in his geographical book Oranda Tsūhaku. Both books include the name of BUYS, although it is a personal name in the former and the name of a book in the latter. Therefore, many modern scholars consider that the literary source of his etching method would be Nieuw en Vclkomen Woordenboek by Egbert BUYS, which was a fundamental book for any scholars of Dutch studies.\n On the other hand, in Kōmō Zatsuwa (Stories of Westerners) by Chūryō MORISHIMA, published four years after Kōkan\u0027s innovation, the encyclopedia by CHOMEL is cited in the article entitled “Dutch painting method, including copperplate printing method”. And there is the following passage: “...... though the production of copperplate printing is mentioned in the books by such authors as BUYS and CHOMEL” in Vol. 3 of an essay, Teikan Zakki, by Sadanobu MATSUDAIRA. Further, Kōsei Shimpen, Japanese excerpt translation sponsored by the Shogunate, of a Dutch version of CHOMEL\u0027s Dictionnaire Economique has an article, “Etching (Dutch: Etsen)”. Here almost the entire article on etching in the original dictionary is translated. Some scholars, therefore, consider that the literary source of Kūkan\u0027s etching method is the book of CHOMEL.\n The problem is that neither of the theories had a definite basis. The author of this article tries to examine the descriptions in the possible literary sources of Kōkan\u0027s knowledge of etching methods. Here, in the present paper, he translated related articles in the three kinds of dictionaries which were supposedly available in Japan before Kōkan\u0027s first print was made, Woordenboek by BUYS (10 vols., 1769–1778), Dutch translations of CHOMEL\u0027s dictionary, Huishoudelyk Woordboek (2 vols. 1743) and Huishoudelyk Woordenboek (ed. by CHALMOT, 2 vols. 1768–1777), and another edition with the same contents as the last one, Algemeen Huishoudelyk-, Natur-, Zedekundig- en Konst Woordenboek (1778; Kōsei Shimpen is based on this edition). These include articles on engraying techniques, etching techniques and printing. Furthermore, the author compares these descriptions in the dictionaries from technical points of view. As a result, he found that BUYS put emphasis on Engraving while the seven-volume version of CHOMEL put it on Etching and that the latter explained minutely various techniques of copperplate printing which had been practised up to that time. The two-volume version has one article on the preparation of copperplates in which the etching technique is more minutely explained than in the book by BUYS, but it has no article on printing. In short, the book by BUYS is too simple for practical use and the seven-volume version of CHOMEL is the most informative.\n Kōkan, in his published books, referred to BUYS only, but in his unpublished manuscript, Orandakoku-dan Oranda-zokuwa (Stories of Holland) written in the tenth year of Kansei Era (1798), he referred to BUYS, CHOMEL and Konstkabinet. If he were to have consulted with these three books, what he could have used from the contents of the book by BUYS is its illustration of a printing press. He studied the etching technique itself from CHOMEL, as mentioned above. The contents of Konstkabinet is unknown now.\n Whatever reasons he had for not referring to other materials than BUYS in his published books, there is evidence in his writings that he saw articles of “Etsen” and “Schilderkonst” in the Dutch translation of CHOMEL\u0027s work.\n After Sadanobu MATSUDAIRA criticised Kōkan for concealing his method, Kōkan, in 1799, gave notice that he would publicize it in the part called “Oranda-kikō-no-bu” in Shumparō Gafu, with illustrations. Later, in a letter of November, 1813, he informed to a correspondent that the manuscript of this part had been finished and he would publish it by the end of the next year. We do not know if it was actually published. Perhaps he did not or could not publicize his secret.\n At any rate, his explanation that he got his idea from BUYS was part of his close-mouthed attitude and mysterious manner. In spite of his testimony, we cannot but regard that his main source of etching method was in the article of “Etsen” of the seven-volume version of the dictionary by CHOMEL, and that the other books must have remained just minor resources.\n", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "菅野, 陽"}], "nameIdentifiers": [{"nameIdentifier": "27160", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Sugano, Yoh", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27161", "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": "2021-04-23"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "265_1_Sugano_Redacted.pdf", "filesize": [{"value": "9.6 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 9600000.0, "url": {"label": "265_1_Sugano_Redacted", "url": "https://tobunken.repo.nii.ac.jp/record/6606/files/265_1_Sugano_Redacted.pdf"}, "version_id": "318c18ad-0f02-4ade-8bb5-a0f3d6d1f45d"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "司馬江漢筆三囲之景(山形 本間美術館蔵)・強水を流す方法図・側面からみたプレス図(ボス 銅版画技法書初版挿図・東京 菅野陽氏蔵)ボイス・ショメール・洋風画", "subitem_subject_scheme": "Other"}, {"subitem_subject": "“View of Mimeguri” by Kokan Shiba, Homma Art Museum, Yamagata / “The Way of Pouring Etching Mordant over the Copper-plate” and “Side View of Printing Press” (Illustrations of Traicte des Manieres de Graver en Taille Douce by A. Bosse), Owned by Mr. Yoh Sugano", "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": "司馬江漢創製の腐触銅版画技法の原典について 上", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "司馬江漢創製の腐触銅版画技法の原典について 上"}, {"subitem_title": "The Literary Source of the Etching Method of Kokan Shiba (Part I)", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1099"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6606", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6606", "relation": {}, "relation_version_is_last": true, "title": ["司馬江漢創製の腐触銅版画技法の原典について 上"], "weko_shared_id": 3}
司馬江漢創製の腐触銅版画技法の原典について 上
https://tobunken.repo.nii.ac.jp/records/6606
https://tobunken.repo.nii.ac.jp/records/6606ab4e4728-3665-4df6-a7f4-6bd9914501cf
名前 / ファイル | ライセンス | アクション |
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265_1_Sugano_Redacted (9.6 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 | 司馬江漢創製の腐触銅版画技法の原典について 上 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Literary Source of the Etching Method of Kokan Shiba (Part I) | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 司馬江漢筆三囲之景(山形 本間美術館蔵)・強水を流す方法図・側面からみたプレス図(ボス 銅版画技法書初版挿図・東京 菅野陽氏蔵)ボイス・ショメール・洋風画 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | “View of Mimeguri” by Kokan Shiba, Homma Art Museum, Yamagata / “The Way of Pouring Etching Mordant over the Copper-plate” and “Side View of Printing Press” (Illustrations of Traicte des Manieres de Graver en Taille Douce by A. Bosse), Owned by Mr. Yoh Sugano | |||||
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 |
菅野, 陽
× 菅野, 陽× Sugano, Yoh |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | It is widely known that European prints were imitated under the instruction of Europeans at the earliest stage of Japanese prints in an engraving method in the 1950's. On the other hand, etching was first tried in Japan by Kōkan SHIBA himself in September, 1783, as has been well known since that time. Kōkan did not learn it from Dutch instructors, but produced the method by making Gentaku ŌTSUKI, who was good at foreign language, translate Dutch literary materials in which techniques of etching are mentioned. He frequently propagated the idea that it was his “invention.. Kōkan simply called the Dutch book he consulted “that book”. Gentaku also did not refer to the name of the book. Kōkan however, included the following passage : “in the book by a Dutch person called BUYS” in his book Seiyōga-dan (Story of Western Pictures), published in the eleventh year of Kansei Era, that is, sixteen years after his innovation of the etching method, and he also has the following passage: “in a Dutch book called BUYS” in his geographical book Oranda Tsūhaku. Both books include the name of BUYS, although it is a personal name in the former and the name of a book in the latter. Therefore, many modern scholars consider that the literary source of his etching method would be Nieuw en Vclkomen Woordenboek by Egbert BUYS, which was a fundamental book for any scholars of Dutch studies. On the other hand, in Kōmō Zatsuwa (Stories of Westerners) by Chūryō MORISHIMA, published four years after Kōkan's innovation, the encyclopedia by CHOMEL is cited in the article entitled “Dutch painting method, including copperplate printing method”. And there is the following passage: “...... though the production of copperplate printing is mentioned in the books by such authors as BUYS and CHOMEL” in Vol. 3 of an essay, Teikan Zakki, by Sadanobu MATSUDAIRA. Further, Kōsei Shimpen, Japanese excerpt translation sponsored by the Shogunate, of a Dutch version of CHOMEL's Dictionnaire Economique has an article, “Etching (Dutch: Etsen)”. Here almost the entire article on etching in the original dictionary is translated. Some scholars, therefore, consider that the literary source of Kūkan's etching method is the book of CHOMEL. The problem is that neither of the theories had a definite basis. The author of this article tries to examine the descriptions in the possible literary sources of Kōkan's knowledge of etching methods. Here, in the present paper, he translated related articles in the three kinds of dictionaries which were supposedly available in Japan before Kōkan's first print was made, Woordenboek by BUYS (10 vols., 1769–1778), Dutch translations of CHOMEL's dictionary, Huishoudelyk Woordboek (2 vols. 1743) and Huishoudelyk Woordenboek (ed. by CHALMOT, 2 vols. 1768–1777), and another edition with the same contents as the last one, Algemeen Huishoudelyk-, Natur-, Zedekundig- en Konst Woordenboek (1778; Kōsei Shimpen is based on this edition). These include articles on engraying techniques, etching techniques and printing. Furthermore, the author compares these descriptions in the dictionaries from technical points of view. As a result, he found that BUYS put emphasis on Engraving while the seven-volume version of CHOMEL put it on Etching and that the latter explained minutely various techniques of copperplate printing which had been practised up to that time. The two-volume version has one article on the preparation of copperplates in which the etching technique is more minutely explained than in the book by BUYS, but it has no article on printing. In short, the book by BUYS is too simple for practical use and the seven-volume version of CHOMEL is the most informative. Kōkan, in his published books, referred to BUYS only, but in his unpublished manuscript, Orandakoku-dan Oranda-zokuwa (Stories of Holland) written in the tenth year of Kansei Era (1798), he referred to BUYS, CHOMEL and Konstkabinet. If he were to have consulted with these three books, what he could have used from the contents of the book by BUYS is its illustration of a printing press. He studied the etching technique itself from CHOMEL, as mentioned above. The contents of Konstkabinet is unknown now. Whatever reasons he had for not referring to other materials than BUYS in his published books, there is evidence in his writings that he saw articles of “Etsen” and “Schilderkonst” in the Dutch translation of CHOMEL's work. After Sadanobu MATSUDAIRA criticised Kōkan for concealing his method, Kōkan, in 1799, gave notice that he would publicize it in the part called “Oranda-kikō-no-bu” in Shumparō Gafu, with illustrations. Later, in a letter of November, 1813, he informed to a correspondent that the manuscript of this part had been finished and he would publish it by the end of the next year. We do not know if it was actually published. Perhaps he did not or could not publicize his secret. At any rate, his explanation that he got his idea from BUYS was part of his close-mouthed attitude and mysterious manner. In spite of his testimony, we cannot but regard that his main source of etching method was in the article of “Etsen” of the seven-volume version of the dictionary by CHOMEL, and that the other books must have remained just minor resources. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 265, p. 1-22, 発行日 1970-05-15 |