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  1. A100 文学部/人文学研究科・文学研究科・国際言語文化研究科
  2. A100b 紀要
  3. 名古屋大学人文学フォーラム
  4. 3

今村紫紅における琳派受容について : 『伊勢物語』を題材とした作品を中心に

https://doi.org/10.18999/humfnu.3.(1)
https://doi.org/10.18999/humfnu.3.(1)
4e75f321-a6cb-4dfc-8444-d81ea316d841
名前 / ファイル ライセンス アクション
humfnu_3_(1).pdf humfnu_3_(1).pdf (2.5 MB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2020-05-13
タイトル
タイトル 今村紫紅における琳派受容について : 『伊勢物語』を題材とした作品を中心に
言語 ja
その他のタイトル
その他のタイトル Acceptance of Rimpa by Imamura Shiko : focusing on works of “Ise Monogatari”
言語 en
著者 原田, 礼帆

× 原田, 礼帆

WEKO 98392

ja 原田, 礼帆

Search repository
Harada, Ayaho

× Harada, Ayaho

WEKO 98393

en Harada, Ayaho

Search repository
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 今村紫紅
キーワード
主題Scheme Other
主題 琳派
キーワード
主題Scheme Other
主題 伊勢物語絵
キーワード
主題Scheme Other
主題 近代日本画
キーワード
主題Scheme Other
主題 歴史画
キーワード
主題Scheme Other
主題 Imamura Shiko
キーワード
主題Scheme Other
主題 Rimpa
キーワード
主題Scheme Other
主題 Ise Monogatari-e
キーワード
主題Scheme Other
主題 Modern Japanese Art
キーワード
主題Scheme Other
主題 History painting
抄録
内容記述 The objective of this article is to describe the acceptance of Rimpa by Imamura Shiko (1880-1916). He is one of representative Japanese painters in late Meiji and early Taisho era. And also he is famous for the artist who likes the style of Rimpa. However there are few studies which reveal how Shiko studied Rimpa on the way to search for “New Japanese art”. In peak period of work, he made three paintings which have same theme: “Ise Monogatari”. He rarely made paintings of the same theme. Also, this theme has been taken over by Rimpa. Therefore this article focuses specifically on three “Ise Monogatari” themed paintings by Shiko and indicates the changing among those paintings. The first chapter suggests the subject and surveys the theme of “Ise Monogatari” as paintings. It is popular theme in Japanese art and there are famous works by Rimpa. The second chapter describes details of three paintings by Shiko. First of all, “Narihira Azuma kudari” was painted in 1911. Next, “Utsu no Yamaji” was painted in 1912. Lastly, “Tsuta no hosomichi” was painted in 1913. All paintings set theme in “Azuma kudari” from “Ise Monogatari”. And also this chapter compares characteristic points of three paintings: the expression of figure and the depiction of nature. Shiko followed his master’s way in early period. His master is famous for historical paintings which expresses fine figures. However, he introduced style of Yamato-e for second one. And third one draws near style of Rimpa. The third chapter defines process and importance of acceptance of Rimpa by Shiko in modern Japanese paintings. Ogata Korin has been realized the importance in the middle of the Meiji era. Nevertheless, only few people recognized Tawaraya Sotatsu in that time. Shiko and his patron contributed to revival Sotatsu’s way in modern. The fourth chapter concludes Shiko accepted way of Rimpa for his painting step by step. And his painting was changing by the degree of his understanding of Rimpa’s way. The observations may help to develop the investigation of Shiko’s late paintings in the movement of creating “New Japanese art”. Moreover, it may be useful to those who investigate Japanese paintings in Taisho era.
言語 en
内容記述タイプ Abstract
内容記述
内容記述 図1-図8は都合により掲載しておりません
言語 ja
内容記述タイプ Other
出版者
言語 ja
出版者 名古屋大学大学院人文学研究科図書・論集委員会
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/humfnu.3.(1)
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 2433-2321
書誌情報 ja : 名古屋大学人文学フォーラム

巻 3, p. 1-17, 発行日 2020-03-31
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