WEKO3
アイテム
{"_buckets": {"deposit": "09bd1b9e-cbfc-467a-90f9-e4cc418f178c"}, "_deposit": {"created_by": 3, "id": "6804", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6804"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006804", "sets": ["1156"]}, "author_link": ["27573", "27572"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1966-03-18", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "240", "bibliographicPageEnd": "33", "bibliographicPageStart": "26", "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": " The Meiji Period brought about great changes in the field of ceramic art, changes which were to profoundly affect the later development to ceramics, but this important aspect has hitherto been overlooked and little research has been done in this direction. In this article, the writer points out the problem of design, which was the central and difficult problem confronting the ceramic artists of the Meiji Period. \n From the earliest days of the Meiji Period, ceramic artists had endeavoured to assimilate the materials and techniques of western ceramic art, and from the sixth year of Meiji (1873), when a World Exposition was held in Vienna, this interest in western ceramics was intensified and accelerated. Western techniques were eagerly imported and western designs were copied, but in most cases, imitation was confined to the rendering of flower and bird patterns on ceramic ware, and,\nfrom the technical viewpoint, it did not go beyond the craftsmanship of the late Edo Period. It was not till about the 20th year of Meiji (1887), that the problems of design and decoration came to be seriously discussed. Suggestions that decoration of ceramic ware should be done by professional artists and not by craftsmen were put forward, but in spite of much discussion no tangible rsults were achieved.\n In the 33rd year of Meiji (1900), a World Exposition was held in Paris and Japan sent a quantity of exhibits, but Japanese ceramic ware was severely criticized as lacking originality of design. From this time, ceramic art was spurred to greater changes, and it became clear that practical ceramic ware such as everyday utensils would have to follow modern production methods. Moreover, from about the 38th year of Meiji (1905), the demand for such everyday ware increased rapidly and modernization was the only solution. This also meant simplification of design. Hitherto, all ceramic ware had been produced by the same methods, but now with the arrival of factory production, a clear line was drawn between artistic ware and everyday ware. Such a general change in the ceramic world called for changes in the design of artistic ware, but unlike the sculptors and painters of the age, who were receptive to new trends, the makers of pottery and porcelain were extremely conservative and totally unprepared for change. In the 40th year of Meiji (1907), when the Ministry of Education opened its Exhibition of Art, ceramics were not included. This was hardly encouraging for ceramic artists.\n However, in spite of the general stagnation, such artists as Itaya Hazan. Kawamura Seizan, and Kinkōzan Sōbei were struggling with the problem of design, and in the 2nd year of Taishō (1913), a new creativity became apparent in the field of ceramics. The works of such men show that the stagnation of the last years of the Meiji Period may also have coverd a period of fermentation. From the end of the Meiji Period we see the influx of new ideas and the emergence of new artists, the graduates of the new art schools, bringing change and development in the world of ceramic art.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "中川, 千咲"}], "nameIdentifiers": [{"nameIdentifier": "27572", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Nakagawa, Sensaku", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27573", "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": "240_26_Nakagawa_Redacted.pdf", "filesize": [{"value": "10.8 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 10800000.0, "url": {"label": "240_26_Nakagawa_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6804/files/240_26_Nakagawa_Redacted.pdf"}, "version_id": "d3d8c79a-c4b3-4987-9736-a3d1f7422995"}]}, "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": "明治後期陶磁工芸の一動向", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "明治後期陶磁工芸の一動向"}, {"subitem_title": "Aspects of Ceramic Art in the Late Meiji Period", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1156"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6804", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6804", "relation": {}, "relation_version_is_last": true, "title": ["明治後期陶磁工芸の一動向"], "weko_shared_id": 3}
明治後期陶磁工芸の一動向
https://tobunken.repo.nii.ac.jp/records/6804
https://tobunken.repo.nii.ac.jp/records/6804aec63cf6-0daf-4876-aa94-dca6f9df62e7
名前 / ファイル | ライセンス | アクション |
---|---|---|
240_26_Nakagawa_Redacted.pdf (10.8 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 | 明治後期陶磁工芸の一動向 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Aspects of Ceramic Art in the Late Meiji Period | |||||
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 |
中川, 千咲
× 中川, 千咲× Nakagawa, Sensaku |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The Meiji Period brought about great changes in the field of ceramic art, changes which were to profoundly affect the later development to ceramics, but this important aspect has hitherto been overlooked and little research has been done in this direction. In this article, the writer points out the problem of design, which was the central and difficult problem confronting the ceramic artists of the Meiji Period. From the earliest days of the Meiji Period, ceramic artists had endeavoured to assimilate the materials and techniques of western ceramic art, and from the sixth year of Meiji (1873), when a World Exposition was held in Vienna, this interest in western ceramics was intensified and accelerated. Western techniques were eagerly imported and western designs were copied, but in most cases, imitation was confined to the rendering of flower and bird patterns on ceramic ware, and, from the technical viewpoint, it did not go beyond the craftsmanship of the late Edo Period. It was not till about the 20th year of Meiji (1887), that the problems of design and decoration came to be seriously discussed. Suggestions that decoration of ceramic ware should be done by professional artists and not by craftsmen were put forward, but in spite of much discussion no tangible rsults were achieved. In the 33rd year of Meiji (1900), a World Exposition was held in Paris and Japan sent a quantity of exhibits, but Japanese ceramic ware was severely criticized as lacking originality of design. From this time, ceramic art was spurred to greater changes, and it became clear that practical ceramic ware such as everyday utensils would have to follow modern production methods. Moreover, from about the 38th year of Meiji (1905), the demand for such everyday ware increased rapidly and modernization was the only solution. This also meant simplification of design. Hitherto, all ceramic ware had been produced by the same methods, but now with the arrival of factory production, a clear line was drawn between artistic ware and everyday ware. Such a general change in the ceramic world called for changes in the design of artistic ware, but unlike the sculptors and painters of the age, who were receptive to new trends, the makers of pottery and porcelain were extremely conservative and totally unprepared for change. In the 40th year of Meiji (1907), when the Ministry of Education opened its Exhibition of Art, ceramics were not included. This was hardly encouraging for ceramic artists. However, in spite of the general stagnation, such artists as Itaya Hazan. Kawamura Seizan, and Kinkōzan Sōbei were struggling with the problem of design, and in the 2nd year of Taishō (1913), a new creativity became apparent in the field of ceramics. The works of such men show that the stagnation of the last years of the Meiji Period may also have coverd a period of fermentation. From the end of the Meiji Period we see the influx of new ideas and the emergence of new artists, the graduates of the new art schools, bringing change and development in the world of ceramic art. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 240, p. 26-33, 発行日 1966-03-18 |