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図像的イメージとしての「都市一覧図」について : 鍬形蕙斎の《江戸一覧図屏風》を中心に
http://hdl.handle.net/10112/6331
http://hdl.handle.net/10112/6331294a5fcd-c6f7-42b7-93b7-c5df55be48fc
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
1-3_HWANG Yong Goo.pdf (1.4 MB)
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| Item type | 一般雑誌記事 / Article(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2012-03-28 | |||||
| タイトル | ||||||
| タイトル | 図像的イメージとしての「都市一覧図」について : 鍬形蕙斎の《江戸一覧図屏風》を中心に | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| その他のタイトル | ||||||
| その他のタイトル | The Panoramic View of the City as Iconographic Image: Kuwagata Keisai's Panoramic Map of Edo | |||||
| 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 | article | |||||
| 著者 |
黄, 龍求
× 黄, 龍求 |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 4839 | |||||
| 姓名 | Hwang, Yong Goo | |||||
| 概要 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | An ichiranzu 一覧図 is a type of bird's-eye view chōkanzu 鳥瞰図 or overhead view fukanzu 俯瞰図 map. Nevertheless, these three terms differ slightly in meaning, the distinction being presence of absence of spatial range and topographical accuracy. The structure of the bird's-eye view map includes the locations of famous spots and roads, which, when compared with the characteristics of an ichiranzu, the spatial construction of the view from the sky to the ground is an imaginary scenic realisation. Ichiranzu appeared with the growth of interest in travel and famous places during the later Edo period, and can therefore be considered to simultaneously embody maps and painting: painting-like maps, or map-like paintings. The painting of famous places that arose from the desire to visit these spots thus needed to embrace these two qualities of map-like painting and painting-like map, this being a reaction or corresponding response to the desire "to visit" and the desire "to see". In order "to visit" the famous spots, it was necessary to provide topographical information, and to satisfy the desire "to see", it was necessary to provide some visual painting-like aesthetic. Ichiranzu are therefore the concrete realisation or combination of the two elements of "map" and "painting" and the topographical portrayal of famous spots. This paper explores the position of ichiranzu as painting, and considers the iconographic images specifically focusing on two representative works of toshi ichiranzu: the Edo ichiranzu and the Karaku ichiranzu, both by Kuwagata Keisai and Yokoyama Kazan, as these two works clearly reflect the "map" and "painting" qualities of ichiranzu. |
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| 書誌情報 |
近代世界の「言説」と「意象」 : 越境的文化交渉学の視点から p. 49-84, 発行日 2012-01-31 |
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| ISBN | ||||||
| 識別子タイプ | ISBN | |||||
| 関連識別子 | 9784990516499 | |||||
| 書誌レコードID | ||||||
| 識別子タイプ | NCID | |||||
| 関連識別子 | BB08721084 | |||||
| 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 | Institute for Cultural Interaction Studies, Kansai University | |||||
| 出版者（他言語） | ||||||
| 関西大学文化交渉学教育研究拠点 | ||||||
| シリーズ | ||||||
| 関連名称 | ICIS次世代国際学術フォーラムシリーズ ; 第4輯 | |||||
