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復古大和絵に纏わる「近代性」の言説に関する一考察
http://hdl.handle.net/10112/10282
http://hdl.handle.net/10112/10282dca38615-1fd1-46cd-81c8-8df529f12c27
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KU-0400-20160401-17.pdf (583.2 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-07-08 | |||||
| タイトル | ||||||
| タイトル | 復古大和絵に纏わる「近代性」の言説に関する一考察 | |||||
| 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 | A study of “modernity” in the Yamato-e revival | |||||
| 著者 |
日並, 彩乃
× 日並, 彩乃 |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 4488 | |||||
| 姓名 | Hinami, Ayano | |||||
| 概要 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | This paper is a consideration of “modernity” in the Yamato-e revival of early modern times. The “Yamato-e revival” is a general term for painters (and their works) during the latter part of the Edo period (1603‒1867) who attempted to breathe new life into traditional Japanese-style painting (Yamato-e) after meticulous research into the techniques and practices of earlier artists and a direct study of ancient works. As a school of painting, their position in art history is quite distinct from that of the Tosa school, who had an established position within society as professional Yamato-e painters. Tanaka Totsugen (1767‒1823), Ukita Ikkei (1795‒1859), and Reizei Tamechika (1823‒1864), are usually spoken of as the central figures in the Yamato-e revival, while later Nihonga (Japanese-style painting) artists such as Kikkawa Reika (1875‒1929) and Matsuoka Eikyu (1881‒1938) may also be thought of as having connections to it. In any case, we must first consider these painters involved in Yamato-e from a perspective transcending historical periodizations such as early modern and modern. The vigorous activities of later painters in publicly honoring Reizei Tamechika for his unrecognized works has influenced our present-day interpretation of the Yamato-e revival. Next, I will analyze Kikkawa Reika’s role in promoting Reizei Tamechika, and Nakabe Yoshitaka’s critical assessment of Tamechika’s “modernity.” Finally, by comparing these positions with Fujioka Sakutaro’s Kinsei kaigashi (History of Early Modern Painting), the earliest critical discussion of the Yamato-e revival, I will touch on the elusiveness of the concept of “modernity” in works of art. |
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| 書誌情報 |
関西大学東西学術研究所紀要 巻 49, p. 313-332, 発行日 2016-04-01 |
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| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 02878151 | |||||
| 出版者 | ||||||
| 出版者 | 関西大学東西学術研究所 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 復古大和絵（Fukko Yamato‒e） | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 冷泉為恭（REIZEI Tamechika） | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 吉川霊華（KIKKAWA Reika） | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 松岡映丘（MATSUOKA Eikyu） | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 近代（Modernity） | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 関西大学（Kansai University） | |||||
