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「彫刻」へのまなざし : 高村光雲と近代美術制度
http://hdl.handle.net/10959/1555
http://hdl.handle.net/10959/1555bffb0fce-6c0f-440b-b83b-32c02ce2d2c3
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
jinbunkagaku_19_37_64.pdf (2.2 MB)
Restricted Access
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学内限定
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| Item type | 紀要論文 / Departmental Bulletin Paper【学内限定】(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2012-03-15 | |||||
| タイトル | ||||||
| タイトル | 「彫刻」へのまなざし : 高村光雲と近代美術制度 | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | チョウコク エノ マナザシ タカムラ コウウン ト キンダイ ビジュツ セイド | |||||
| 言語 | ja-Kana | |||||
| タイトル | ||||||
| タイトル | The birth of "choukoku" in Japan : Takamura Koun and Japanese Modern Art System | |||||
| 言語 | en | |||||
| 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 | |||||
| 著者 |
庵原, 理絵子
× 庵原, 理絵子× Ihara, Rieko |
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| 出版者 | ||||||
| 出版者 | 学習院大学大学院人文科学研究科 | |||||
| 言語 | ja | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | In Japan, the term “choukoku”（can be translated as “sculpture”）only started to be used since the Meiji period, as this concept based on the tradition of Western sculpture entered Japan at the very end of the nineteenth century. Takamura Ko - un（1852 ─ 1934）was born during the late Edo period and begun his career as a butsushi, a craftsman mainly producing Buddhist statues. The perspective of his starting point as craftsman is key to consider the problem about “choukoku” in Meiji period. Later, he successfully managed to transform himself into a “sculptor” as an artist, taking advantage of the modern art system. For example, he received an award of the world Columbian exposition in 1893, and this fact threw luster on his image as a modern sculptor. This exposition was memorable event for Japan, because Japanese works won acceptance as “art” for the first time in a world exposition and displayed officially at the museum. However, it was not easy to change from a butsushi to a modern sculptor. The concept of “choukoku” bothered Ko - un. Similarly, Meiji government, which was going through the difficult process to of adopting the concepts of Western art, did not yet fully understand Western nations notions of “sculpture” and “art”. The Meiji government, as well as Ko - un, had difficulty reconciling the Japanese tradition with which they were familiar, and new Western concepts of fine art that were being introduced. As is obvious from the differences in backgrounds, there is huge gap between Western art and Japanese tradition. The aim of this study is to investigate the relationship between Ko - un and the modern art system of the Meiji period. Although Ko - un studied modern sculpture and created what were considered modern works, his techniques and ways of artistic expression referred to the traditions of butsushi. This study discusses traditional and modern aspects of Ko - un’s works and investigates the development of modern Japanese sculpture in general. | |||||
| 言語 | en | |||||
| 書誌情報 |
ja : 学習院大学人文科学論集 en : Gakushuin University studies in humanities 号 19, p. 37-64, 発行日 2010-10 |
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| ISSN | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 09190791 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN10398283 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | application/pdf | |||||
| 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 | |||||
| URI | ||||||
| 識別子 | http://hdl.handle.net/10959/1555 | |||||
| 識別子タイプ | HDL | |||||
