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池大雅の中期と晩期作品 : 寛延3年(1750)から明和8年(1771)まで
http://hdl.handle.net/10112/16771
http://hdl.handle.net/10112/16771c0c7358f-69a3-4ec0-b35c-b7f9da6f4701
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KU-1100-20190331-09.pdf (1.5 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2019-04-12 | |||||
| タイトル | ||||||
| タイトル | 池大雅の中期と晩期作品 : 寛延3年(1750)から明和8年(1771)まで | |||||
| 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 | departmental bulletin paper | |||||
| その他のタイトル | ||||||
| その他のタイトル | Ike Taiga's Artworks in His Middle and Late Period : Considering the Paintings From 1750 (Kan'en 3) to 1771 (Meiwa 8) | |||||
| 著者 |
カラヴァエヴァ, ユリヤ
× カラヴァエヴァ, ユリヤ |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 30367 | |||||
| 姓名 | Karavajeva, Julija | |||||
| 概要 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | The article deals with the artworks of Ike Taiga, belonging to his middle and late period of artistic creation, particularly to his thirties and forties. Taiga's middle period landscapes show a relatively united stylistic expression, when a tendency towards constructing a subdivided form created from the small elements dominates in artist's visual language. However, starting from the forties, inconsistent and various techniques can be seen, which resonates with Taiga's early artistic period. Moreover, the late artworks of forties include rather synthetic images, in which Taiga's personal interpretations are incorporated. It is widely recognized that Taiga's stylistic completion was achieved after he reached his forties. On the other hand, this statement can be applied to his large-scale works like fusuma sliding doors and byobu decorative screens, whereas in small-scale paintings, such as fans and scrolls Taiga's exquisite skills can be seen already from his twenties. During the whole Taiga's artistic career the artworks relating to bunjinga literati painting appear from time to time, but it can not be said that the painter intentionally and continuously decided to take bunjinga stylistic direction. He got an inspiration from Chinese originals and picture albums, incorporated some brushwork techniques from Chinese literati painters, but all these sources, especially in late period, were adopted in order to create a personal images that show Taiga's individual interpretations. | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点 | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | [東アジアの言語と表象] | |||||
| 書誌情報 |
東アジア文化交渉研究 = Journal of East Asian cultural interaction studies 巻 12, p. 123-144, 発行日 2019-03-31 |
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| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 18827748 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA12327433 | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
| 出版者 | ||||||
| 出版者 | 関西大学大学院東アジア文化研究科 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 池大雅 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 文人画 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 様式変遷 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 多様性 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 細分化 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 総合性 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 完成期 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 関西大学 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Kansai University | |||||
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Cite as
カラヴァエヴァ, ユリヤ, 2019, 池大雅の中期と晩期作品 : 寛延3年(1750)から明和8年(1771)まで: 関西大学大学院東アジア文化研究科, 123–144 p.
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