WEKO3
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Their historical significance would be that they were the forerunners of the painters\u0027 association, Kokuga Sōsaku Kyōkai which had an epoch-making influence on Japanese-style painting in the Taishō Era (1912–1925).\n But we know little about these societies as they did not last long and as they were small, being mere names in Japanese art history.\n The present author, who specially notices the strange French names and the fact of their sudden appearance in Kyoto which is generally considered to be the center of traditional culture and old manner of life, has made a survey of it. She found the historical data of these societies in articles of the newspaper the Hinode Shimbun, published in the Kyoto of that day as well as from conversations with people who had had some connection with the societies. At the same time she discovered their interest in contemporary European culture as evidenced in these newspaper articles. She also utilized for her paper other historical records and published studies. The information for the chronological history of these societies remain unfortunately scanty, but much light is thrown on their relationship with European culture by the present paper. The interesting fact is that these societies\u0027 activities are very close to the Café Literature Movement which was seen during the last years of the nineteenth century in Europe. The Café Literature Movement was an uninhibited, decadent movement consisting of painters, composers, scholars and actors including so-called Decadents and Symbolists derived from the Parnassian school. In short, it was a transitional phenomenon which marked the end of the old arts and heralded the birth of the new arts. And among its circles there was a circle called Le Chat Noir, which had the largest membership and floulished all over Europe in various forms. The Kyoto Chat Noir was the offspring of this movement. But in tradition-bound Kyoto, especially before much westernization had been seen in Japan, this small group could hardly have had much effect on the arts. Nevertheless, they played a role as a stimulator toward a new direction. TSUCHIDA Bakusen, a talented member of them, later founded the Kokuga Sōsaku Kyōkai, bringing a memorable influence to modern Japanese style painting. Their decadent tendency, combined with the trend called Jinseiha (Humane Trend), gave rise to a group of painters who produced lyrical illustrations and sweet paintings of beauties favoured by the people of the Taishō Era, the most popular of all being TAKESHITA Yumeji.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "関, 千代"}], "nameIdentifiers": [{"nameIdentifier": "27508", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Seki, Chiyo", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27509", "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": "2017-10-04"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "232_27_Seki_Redacted.pdf", "filesize": [{"value": "15.2 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 15200000.0, "url": {"label": "232_27_Seki_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6771/files/232_27_Seki_Redacted.pdf"}, "version_id": "93b26d65-161b-4b69-8ca8-076c4e4f4155"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "しやのある・るますく・無名会・田中喜作・土田麦仙・小野竹喬・田中善之助・黒田重太郎・新井謹也", "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": "黒猫会・仮面会等覚書―明治末年における京都画壇の一動向―", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "黒猫会・仮面会等覚書―明治末年における京都画壇の一動向―"}, {"subitem_title": "Memorandum on “Le Chat Noir” and “Le Masque”: A Small Movement of Two Painters’ Groups in Kyoto in the Last Years of Meiji Era", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1148"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6771", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6771", "relation": {}, "relation_version_is_last": true, "title": ["黒猫会・仮面会等覚書―明治末年における京都画壇の一動向―"], "weko_shared_id": 3}
黒猫会・仮面会等覚書―明治末年における京都画壇の一動向―
https://tobunken.repo.nii.ac.jp/records/6771
https://tobunken.repo.nii.ac.jp/records/67712284ba5c-5a00-490c-affc-679c82559b78
名前 / ファイル | ライセンス | アクション |
---|---|---|
232_27_Seki_Redacted.pdf (15.2 MB)
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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 | 黒猫会・仮面会等覚書―明治末年における京都画壇の一動向― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Memorandum on “Le Chat Noir” and “Le Masque”: A Small Movement of Two Painters’ Groups in Kyoto in the Last Years of Meiji Era | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | しやのある・るますく・無名会・田中喜作・土田麦仙・小野竹喬・田中善之助・黒田重太郎・新井謹也 | |||||
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 |
関, 千代
× 関, 千代× Seki, Chiyo |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | “Le Chat Noir” and “Le Masque” are small societies of artists with a slightly decadent, tendency which appeared in Kyoto at the end of the Meiji Era (or the first decade of this century). Their historical significance would be that they were the forerunners of the painters' association, Kokuga Sōsaku Kyōkai which had an epoch-making influence on Japanese-style painting in the Taishō Era (1912–1925). But we know little about these societies as they did not last long and as they were small, being mere names in Japanese art history. The present author, who specially notices the strange French names and the fact of their sudden appearance in Kyoto which is generally considered to be the center of traditional culture and old manner of life, has made a survey of it. She found the historical data of these societies in articles of the newspaper the Hinode Shimbun, published in the Kyoto of that day as well as from conversations with people who had had some connection with the societies. At the same time she discovered their interest in contemporary European culture as evidenced in these newspaper articles. She also utilized for her paper other historical records and published studies. The information for the chronological history of these societies remain unfortunately scanty, but much light is thrown on their relationship with European culture by the present paper. The interesting fact is that these societies' activities are very close to the Café Literature Movement which was seen during the last years of the nineteenth century in Europe. The Café Literature Movement was an uninhibited, decadent movement consisting of painters, composers, scholars and actors including so-called Decadents and Symbolists derived from the Parnassian school. In short, it was a transitional phenomenon which marked the end of the old arts and heralded the birth of the new arts. And among its circles there was a circle called Le Chat Noir, which had the largest membership and floulished all over Europe in various forms. The Kyoto Chat Noir was the offspring of this movement. But in tradition-bound Kyoto, especially before much westernization had been seen in Japan, this small group could hardly have had much effect on the arts. Nevertheless, they played a role as a stimulator toward a new direction. TSUCHIDA Bakusen, a talented member of them, later founded the Kokuga Sōsaku Kyōkai, bringing a memorable influence to modern Japanese style painting. Their decadent tendency, combined with the trend called Jinseiha (Humane Trend), gave rise to a group of painters who produced lyrical illustrations and sweet paintings of beauties favoured by the people of the Taishō Era, the most popular of all being TAKESHITA Yumeji. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 232, p. 27-38, 発行日 1964-10-30 |