WEKO3
アイテム
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无聲会の自然主義運動
https://tobunken.repo.nii.ac.jp/records/6909
https://tobunken.repo.nii.ac.jp/records/6909b87f4113-7289-42a3-b0e1-d9bb4b6ebdea
名前 / ファイル | ライセンス | アクション |
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184_80_Odakane_Redacted.pdf (9.8 MB)
|
Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2016-12-27 | |||||
タイトル | ||||||
タイトル | 无聲会の自然主義運動 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Naturalism Movement of the Musei-kai | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 無声会 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | The Naturalism Movement of the Musei-kai | |||||
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 |
小高根, 太郎
× 小高根, 太郎× Odakane, Taro |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | As a result of the Sino-Japanese War in 1894-95, an industrial revolution took place in Japan, and small-scale industries made notably rapid progress. Consequently, the social system took on a different aspect: the bourgeoisie rose in power, while the proletariate made its appearance. Japanese literature and arts, reflecting this social condition, began to have two opposing movements, Romanticism and Realism. Romanticism in arts was evolved blazingly by the Nihon Bijutsu-in (Japan Fine Arts Academy) organized in 1898 under the guidance of the famous critic, OKAKURA Tenshin. Opponent to it was Musei-Kai Seciety upholding Naturalism, which was established in 1900 by such artists as FUKUI Kōtei, SHIMAZAKI Ryūa, ŌMORI Keidō YŪKi Somei, HIRAFUKU Hyakusui and WATANABE Kōgai. they were all pupils of KAWABATA Gyokushō, the artist of the traditional Maruyama School originated by MARUYAMA Ōkyo (1733-1795), but unsatisfied with the stylized Maruyama style they created and improved a fresh naturalistic style into which they assimilated the Western emphasis on drawing. Later, ISHII Hakutei, an artist of Western style painting, also joined this Society. The members of the Musei-kai chose their subject matters from workers, peasants, factories and slum quarters. This was a marked contrast with the attitude of the artists in the Nihon Bijutsu.in who used to deal exclusively with historical or religious or legendary subject. The Society held thirteen exhibitions by its members until 1913, after which it was disbanded the same year. Romanticism in literature was overpowered by Realism, but in art Romanticism won victory. HIRAFUKU Hyakusui and Yuki Somei, members of the Society, converted to Romanticism in the Taishō period (1912-1925). It is important to note, however, that Hyakusui's works in his late years reveal the revival of his Realism which was rendered with even more profound insight than that of his Musei-kai period. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 184, p. 80-87, 発行日 1956-03-25 |