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研究ノート 田中一松の眼と手
https://doi.org/10.18953/00009026
https://doi.org/10.18953/00009026ba4987ab-01d4-4212-8334-79f28313e221
| 名前 / ファイル | ライセンス | アクション |
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432_39_Emura_Redacted (115.8 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
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| 公開日 | 2022-12-22 | |||||||||
| タイトル | ||||||||||
| タイトル | 研究ノート 田中一松の眼と手 | |||||||||
| タイトル | ||||||||||
| タイトル | Research Note: Tanaka Ichimatsu’s Eye and Hand | |||||||||
| 言語 | en | |||||||||
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| 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 | journal article | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.18953/00009026 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 著者 |
江村, 知子
× 江村, 知子
× Emura, Tomoko
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | Tanaka Ichimatsu (1895-1983) was a Japanese art history scholar particularly known for his accomplishments in the study of Buddhist painting, handscrolls and ink painting. After graduating from Tokyo Imperial University, in 1924 he began working at the Tokyo Imperial Museum, and from 1953 through 1965, he was Director General of the Tokyo National Research Institute for Cultural Properties. For many years he was involved in the cultural properties administration, such as designating National Treasures and Important Cultural Properties, and thus for more than half a century he played a leading role in Japan’s research on art history. In 1973 he became the second Japanese, after Yashiro Yukio, to receive the Smithsonian Institution’s honor, the Charles Lang Freer Medal. Tanaka wrote more than 100 books and more than 350 research articles, while also serving as director on numerous art compendia volumes. Indeed, it would not be an exaggeration to say that anyone who has studied Japanese art history has read or seen some of Tanaka’s writings. What supported Tanaka’s research was the survey notes he made during his numerous research surveys of artworks. He drew detailed sketches of the motifs in paintings in those notebooks, while also making detailed records of textual elements such as any accompanying text, painting inscriptions and signatures. Those sketches accurately depicted the characteristics of the artworks and many are worth appreciation as drawings themselves. The Tanaka Ichimatsu Archives in the Tokyo National Research Institute of Cultural Properties include his survey notes, research materials and photographs, and work is underway to make these materials publicly available in the form of a digital archive. The Tanaka Ichimatsu Archives also include his own sketchbooks from his primary school years onwards and postcards he wrote and illustrated. His pictures of his childhood interests include numerous splendid examples. This article focuses on Tanaka’s eye, his ability to see, and his hand, his ability to depict what he saw, while also introducing the home environment and family relations of the Tsuruoka city, Yamagata prefecture, home where he was born and raised. One Tanaka family ancestor, Tanaka Tôkô (田中桐江) formed a literary circle in Ikeda (present-day Osaka prefecture in the Settsu (摂津) domain during the Edo period, and produced a lineage of educated descendants. Ichimatsu’s father, Ichinei (一寧) was a teacher of Japanese and Chinese literature at Shônai Middle School (庄内中学校), and his father’s brother, Ittei or Kazusada (一貞) studied under Fukuzawa Yukichi, and studied in America and Europe as the second Keiô Gijuku overseas scholar. After returning to Japan Ittei/ Kazusada taught sociology and became the first director of the library at Keio University and is credited with founding that library. Ittei/Kazusada traveled to the West three times, and he can be considered to have been an important influence on his nephew Ichimatsu. While Ittei/Kazusada was in Paris in 1902-1903, he joined the local Japanese student organization called the Cercle du Panthéon, and is known to have developed friendships with such Japanese painters as Wada Eisaku and Kanokogi Takeshirô. On the other hand, postcards became common in Europe in the latter half of the 19th century and this led to a worldwide picture postcard boom. Ichimatsu’s own paintings on postcards were influenced by this trend and their painting style reveals the influence of Ôshita Tôjirô, a popular watercolorist of the period. Ôshita was also one of Ittei’s friends and contributed two pictures to Ittei’s book of travels. Ittei sent picture postcards from Europe to his hometown of Tsuruoka, and thus Ichimatsu can be thoughtto have learned about unknown to him arts through his uncle in Europe. For example, Ichimatsu’s sketchbook from January 1914 while he was a middle school student in Tsuruoka includes a copy of the Delphic Oracle from Michelangelo’s Sistine Chapel ceiling frescoes. This shows that Ichimatsu saw one of the postcards that Ittei had sent from Rome and copied the imagery. Thus, from childhood Ichimatsu practiced looking at things with his own eyes and then depicting them with his own hand. The drawing of a picture was thus also training to leave records and this skill can be seen as at the heart of his study and survey of massive numbers of artworks in later years. Around the time that Ichimatsu began working at the Imperial Museum he began writing his survey notes in notebooks. Then, starting in 1934, he began to write his notes on B5 size square-ruled genkô yôshi manuscript paper, which could then be organized by artist or genre. He conducted surveys of artworks on an almost daily basis, and thus he accumulated survey notes. He realized that by organizing the pages by artist, period or other categories, they would be extremely useful in later reference situations. Thus, we can say that Ichimatsu constructed his own massive database. In busy years, Ichimatsu would survey more than 320 objects per year. Overall, the Tanaka Ichimatsu Archives contain more than 20,000 survey notes. The digital form of this analogue Tanaka Ichimatsu Archives currently being created will become an Institute archives for future public access. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 432, p. 39-56, 発行日 2020-12-21 |
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