WEKO3
アイテム
{"_buckets": {"deposit": "a29a4634-eb75-44d5-a244-67ddc8f02b5a"}, "_deposit": {"created_by": 3, "id": "6985", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6985"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006985", "sets": ["1203"]}, "author_link": ["28203", "28202"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "1951-11-30", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "163", "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": " Modern Japanese sculpture owes its birth to the Italian sculptor Vincenzo Ragusa, who came here to teach the techniques of Western sculpture in the Kōbu Bijutsu Gakkō at the foundation of that school in 1876. His lessons on plastic statuary added a new field of Japanese sculpture to the traditional wood and ivory carving. Ragusa was the first Western sculptor to influence upon Japanese sculpture, and the second and more important influence was given by Auguste Rodin, the great master of modern French art.\n The name and art of Rodin was introduced to Japan, probably for the first time, on a 1902 issue of the art magazine “Bijutsu Shimpō” (Art Times) giving an article about the International Fair in Paris, 1900. But the work of Rodin\u0027s which most impressed young Japanese artists was “Le Penseur” shown at the exhibition of the Societe Nationale des Beaux-arts, 1904.\n Takamura Kōtarō (1883- ), then a youthful sculptor in Tokyo, became a devoted admirer of Rodin\u0027s art by a look at a small reproduction of “Le Penseur” on the English magazine “Studio” in 1904. Approximately at the same time Ogiwara Morie (1879-1910) studing painting in France was so deeply impressed with the real “Le Penseur” that he later gave up painting and became a sculptor. On coming home to Japan in 1908 Ogiwara diligently introduced Rodin\u0027s art on newspapers and magazines besides showing his own works in Rodin style at the exhibitions of the Government and the Taiheiyō Ga-kai (Pacific Art Group), to inspire the sculptural world of Japan. His activities influenced upon young artists, among whom was Nakahara Teijirō (1881-1921) then studying painting at the Research Institute of the Pacific Art Group. Ogiwara died young in 1910, but Nakahara, who also converted himself to a sculptor, inherited his activities.\n However, Japanese sculptors in general still adhered to traditional Japanese art, though a few artists such as Tobari Kogan followed the progressive forerunners. On the contrary, Rodin was understood better by a group of young literary men centered around the magazine “Shirakaba,” like Arishima Ikuma and Mushanokōji Saneatsu. The “Shirakaba” dedicated its issue of November 1910 to Rodin in commemoration of his seventieth birthday, introducing his life and art in good detail as well as presenting him about thirty pieces of Japanese wood-block prints. Rodin in return sent three of his works to the “Shirakaba” in 1912, and the editors exhibited them to public. This was the first time his real works were shown in Japan. It caused a great sensation among art lovers of the time, and had a very significant influence on Japanese art.\n The writer gives the result of his researches as summarized above about how Rodin influenced upon Japanese artists late in the Meiji period, or approximately between 1900 and 1912.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "中村, 傳三郎"}], "nameIdentifiers": [{"nameIdentifier": "28202", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Nakamura, Denzaburo", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "28203", "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": "2016-12-27"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "163_1_Nakamura_Redacted.pdf", "filesize": [{"value": "29.8 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 29800000.0, "url": {"label": "163_1_Nakamura_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6985/files/163_1_Nakamura_Redacted.pdf"}, "version_id": "d9fe93ff-316f-4ec6-a417-35f0a5846a3e"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "長沼守敬 老夫(東京藝術大学蔵)・荻原守衛 工夫(長野 荻原碌山館蔵)", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Auguste Rodin in Japan Late in the Meiji Period", "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": "明治末期に於けるロダン", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "明治末期に於けるロダン"}, {"subitem_title": "Auguste Rodin in Japan Late in the Meiji Period", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["1203"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6985", "pubdate": {"attribute_name": "公開日", "attribute_value": "2016-12-27"}, "publish_date": "2016-12-27", "publish_status": "0", "recid": "6985", "relation": {}, "relation_version_is_last": true, "title": ["明治末期に於けるロダン"], "weko_shared_id": -1}
明治末期に於けるロダン
https://tobunken.repo.nii.ac.jp/records/6985
https://tobunken.repo.nii.ac.jp/records/698513d936e9-b709-40a3-90b3-305dfe04fe86
名前 / ファイル | ライセンス | アクション |
---|---|---|
163_1_Nakamura_Redacted.pdf (29.8 MB)
|
Item type | 学術雑誌論文 / Journal Article(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2016-12-27 | |||||
タイトル | ||||||
タイトル | 明治末期に於けるロダン | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Auguste Rodin in Japan Late in the Meiji Period | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 長沼守敬 老夫(東京藝術大学蔵)・荻原守衛 工夫(長野 荻原碌山館蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Auguste Rodin in Japan Late in the Meiji Period | |||||
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 |
中村, 傳三郎
× 中村, 傳三郎× Nakamura, Denzaburo |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Modern Japanese sculpture owes its birth to the Italian sculptor Vincenzo Ragusa, who came here to teach the techniques of Western sculpture in the Kōbu Bijutsu Gakkō at the foundation of that school in 1876. His lessons on plastic statuary added a new field of Japanese sculpture to the traditional wood and ivory carving. Ragusa was the first Western sculptor to influence upon Japanese sculpture, and the second and more important influence was given by Auguste Rodin, the great master of modern French art. The name and art of Rodin was introduced to Japan, probably for the first time, on a 1902 issue of the art magazine “Bijutsu Shimpō” (Art Times) giving an article about the International Fair in Paris, 1900. But the work of Rodin's which most impressed young Japanese artists was “Le Penseur” shown at the exhibition of the Societe Nationale des Beaux-arts, 1904. Takamura Kōtarō (1883- ), then a youthful sculptor in Tokyo, became a devoted admirer of Rodin's art by a look at a small reproduction of “Le Penseur” on the English magazine “Studio” in 1904. Approximately at the same time Ogiwara Morie (1879-1910) studing painting in France was so deeply impressed with the real “Le Penseur” that he later gave up painting and became a sculptor. On coming home to Japan in 1908 Ogiwara diligently introduced Rodin's art on newspapers and magazines besides showing his own works in Rodin style at the exhibitions of the Government and the Taiheiyō Ga-kai (Pacific Art Group), to inspire the sculptural world of Japan. His activities influenced upon young artists, among whom was Nakahara Teijirō (1881-1921) then studying painting at the Research Institute of the Pacific Art Group. Ogiwara died young in 1910, but Nakahara, who also converted himself to a sculptor, inherited his activities. However, Japanese sculptors in general still adhered to traditional Japanese art, though a few artists such as Tobari Kogan followed the progressive forerunners. On the contrary, Rodin was understood better by a group of young literary men centered around the magazine “Shirakaba,” like Arishima Ikuma and Mushanokōji Saneatsu. The “Shirakaba” dedicated its issue of November 1910 to Rodin in commemoration of his seventieth birthday, introducing his life and art in good detail as well as presenting him about thirty pieces of Japanese wood-block prints. Rodin in return sent three of his works to the “Shirakaba” in 1912, and the editors exhibited them to public. This was the first time his real works were shown in Japan. It caused a great sensation among art lovers of the time, and had a very significant influence on Japanese art. The writer gives the result of his researches as summarized above about how Rodin influenced upon Japanese artists late in the Meiji period, or approximately between 1900 and 1912. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 163, p. 1-22, 発行日 1951-11-30 |