WEKO3
アイテム
堀口捨己の宗達との出会い : モダニズム受容期における建築と絵画のヴィジョンの交錯
https://doi.org/10.18999/juncture.4.42
https://doi.org/10.18999/juncture.4.427d557d3d-acc5-4c0f-9e87-200f46064114
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
juncture_4_42.pdf (879.1 kB)
|
|
| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2020-01-28 | |||||
| タイトル | ||||||
| タイトル | 堀口捨己の宗達との出会い : モダニズム受容期における建築と絵画のヴィジョンの交錯 | |||||
| 言語 | ja | |||||
| その他のタイトル | ||||||
| その他のタイトル | Horiguchi Sutemi's Encounter with Soutatsu : An lnstersecting of Visions Between Architecture and Painting After the Meiji Restoration | |||||
| 言語 | en | |||||
| 著者 |
田路, 貴浩
× 田路, 貴浩× Taji, Takahiro |
|||||
| アクセス権 | ||||||
| アクセス権 | open access | |||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Horiguchi Sutemi | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Soutatsu | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Okakura Kakuzo | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Hara Sankei | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | The Okada House (1932) is one of the masterpieces of the architect, Horiguchi Sutemi, a pioneer in Japan in introducing modern architecture from the West. This house was composed of two parts of very different styles: one with a traditional Japanese style and the other with a modern style. Horiguchi also designed various gardens and named the main one of them 'The Garden of Autumn Grasses.' This was a simple garden planted with grasses on a mossy ground in front of an unadorned concrete wall. Horiguchi mentioned that this garden was inspired by 'The Byobu of Autumn Grasses' by Tawaraya Soutatsu. Soutatsu is a traditional Japanese style painter from the beginning of Edo period. Three works of Soutatsu's 'The Byobu of Autumn Grasses' exist today. All of them represent lively grasses on backgrounds painted with gold. Where did Horiguchi encounter this byobu, or folding screen? The appreciation of the works of Soutatsu started anew after an exhibition in 1913. At that time, Okakura Kakuzo appreciated Soutatsu so highly that some young painters, who were his pupils, tried to interpret the works of Soutatsu afresh and created a new planar and decorative style of painting that symbolized a sense of life. Okakura asked Hara Sankei, a known antique collector, to support them. Sankei often invited them in his house to appreciate his collections, and was eager to discuss his works with them. Among the young painters, there was Maeda Seison, who was familiar with Horiguchi. Through Seison, Horiguchi may have become acquainted with Sankei and had a chance to see 'The Byobu of Autumn Grasses.' At the time, Horiguchi was interested in the Katsura-Rikyu Villa. The Imperial Prince Hachijyonomiya, who built the villa, was a contemporary of Soutatsu, and they intended to restore the traditional culture of the dynasty. Horiguchi recognized the planarity and decorativeness of Soutastu's works in Katsura-Rikyu, then accepted the modern architecture of the West with such eyes. For him, simple planarity in modern architecture was a decorativeness that symbolized a feeling of life rather than mechanical functionality. | |||||
| 言語 | en | |||||
| 出版者 | ||||||
| 出版者 | 名古屋大学大学院文学研究科附属日本近現代文化研究センター | |||||
| 言語 | ja | |||||
| 出版者 | ||||||
| 出版者 | Research Center for Modern & Contemporary Japanese Culture, Nagoya University Graduate School of Letters | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源 | http://purl.org/coar/resource_type/c_6501 | |||||
| タイプ | departmental bulletin paper | |||||
| 出版タイプ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
| ID登録 | ||||||
| ID登録 | 10.18999/juncture.4.42 | |||||
| ID登録タイプ | JaLC | |||||
| ISSN（print） | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 1884-4766 | |||||
| 書誌情報 |
ja : JunCture : 超域的日本文化研究 巻 4, p. 42-53, 発行日 2013-03-11 |
|||||
| 著者版フラグ | ||||||
| 値 | publisher | |||||
