@article{oai:tobunken.repo.nii.ac.jp:00006012,
 author = {塩谷, 純 and Shioya, Jun},
 issue = {401},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Aug},
 note = {This article determines the position of Kawabata Gyokushô (1842–1913) in the mid Meiji period Japanese art world based on the multi-author critique of the artist's Kiso Hasshô, or Eight Views of Kiso, which was reproduced in Bijutsu Hyôron No. 11 published in May 1898.
     This work was first exhibited in the 3rd Kaiga Kyôshinkai exhibition held by the Nihon Kaiga Kyôkai in the autumn of 1897, and is made up of eight paintings, namely Fukushima, Ono Falls, Historic Plank Bridge Site, Torii Pass, Nezame, Ochiai River, Midono and Tomoegafuchi. Gyokushô traveled to the Kisó region in the spring of 1897
with Ohashi Otowa and others. Their travel diaries were later published in the periodical Taiyô edited by Otowa. The Eight Views of Kiso series based on sketches of the actual scenery drawn during the trip attracted great attention.
     Bijutsu Hyôron was an art periodical edited by Ômura Seigai and founded in November 1897. A joint critiqueformat critical essay titled “Muheimon” was included in this journal and written on an rotating basis by such Western style painting critics as Kume Keiichirô and Iwamura Tôru. A team of ten critics commented on Eight Views of Kiso, including these two men.
     The critiques of Eight Views of Kiso published in the column “Muheimon” begin with an evaluation of his posture based on sketching onsite. At the time, there was a dazzling array of activity by avant-garde painters in nihonga painting circles who heralded ideals and abstract concepts, and Bijutsu Hyôron presented Gyokushô's works as the antithesis of such trends. Hashimoto Gahô, leader of the sha-i or “depict the idea” faction of avant-garde painters was in opposition to Gyokushô, leader of the sha-sei or “depict actual life” faction. And yet conversely, because Ômura Seigai, editor of the Bijutsu Hyôron journal, was a critic who heralded anything different and was a die-hard member of the Gahô faction, the praise of Eight Views of Kiso in this journal can be considered to have been aimed at the factional structure of the nihonga circles of the day.
     However, the multi-author critique of Eight Views of Kiso in the “Muheimon,” thanks to its layering of critiques, tended towards criticism of the limitations of the sketching from nature which formed its basis. In other words, regardless of the fact that sketches were made onsite, all of the compositions in the series exude a sense of monotony and this led Iwamura Tôru to query whether the term shasei, literally sketched from life, should be used simply because these works depict actual sites. Just around the time that Eight Views of Kiso was painted, the Meiji 20s and 30s, roughly the 1880s and 1890s, was the period when the genre of fükeiga, or scenery painting in both name and actuality, was being established. In other words, works with the title fükei or landscape or scene, were appearing in both Meiji Bijutsukai and Hakubakai group exhibitions. Artists were beginning to find beauty in nameless locales and starting to exhibit paintings depicting such scenes, thus differing from the idealized landscape painting tradition of Asia and the meisho-e emphasis on views of famous historical or recognizable sites. In the midst of such developments, Gyokushô's Eight Views of Kiso images did reflect sketches taken onsite, but were not fully free from traditional brush conventions, and since the series only represented scenic spots along the old Kisokaidô highway, they should probably be considered to be still at a stage just prior to that of fûkeiga scenic paintings. It was left to the next generation, namely Gyokushố's student Hirafuku Hyakusui and his fellow members of the Museikai group formed in 1900 by Hirafuku himself, to work on freeing themselves from that intermediary stage. And yet, after creating this Eight Views of Kiso series, Gyokushô separated himself from sketching actual scenes, possibly as if to go against the trends of the day, and became completely absorbed in the creation of literati-style landscape paintings.},
 pages = {29--49},
 title = {川端玉章の研究（三）},
 year = {2010}
}