@article{oai:glim-re.repo.nii.ac.jp:00003909,
 author = {庵原, 理絵子 and Ihara, Rieko},
 issue = {19},
 journal = {学習院大学人文科学論集, Gakushuin University studies in humanities},
 month = {Oct},
 note = {application/pdf, 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.},
 pages = {37--64},
 title = {「彫刻」へのまなざし : 高村光雲と近代美術制度},
 year = {2010},
 yomi = {イハラ, リエコ}
}