{"created":"2023-05-15T13:34:55.336373+00:00","id":6112,"links":{},"metadata":{"_buckets":{"deposit":"e571fae5-9ae5-47e5-911f-7129dba81228"},"_deposit":{"created_by":3,"id":"6112","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6112"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006112","sets":["20:946:966"]},"author_link":["27982","27983"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2016-12-19","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"420","bibliographicPageEnd":"68","bibliographicPageStart":"31","bibliographic_titles":[{"bibliographic_title":"美術研究"},{"bibliographic_title":"The bijutsu kenkyu : the journal of art studies","bibliographic_titleLang":"en"}]}]},"item_10001_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"     During her own lifetime, the Nihonga (Japanesestyle painting) painter Kurihara Gyokuyô (1883-1922) was regarded as the best female painter in Tokyo, actively displaying her works at the Bunten (Ministry of Educationsponsored art exhibitions) and Teiten (Imperial Academy of Fine Arts exhibitions). Many of her works depicted young girls or women in plays. The painter Itô Shinsui named Gyokuyô as one of the painters who contributed to the formation of the so-called Bijinga genre. Gyokuyô was said to have had 80 to 100 pupils, and in 1920 formed the Nihonga study group, the Getsuyôkai, along with other female painters.\n     At present research on female painters has included study of individual painters, and advanced in terms of diverse approaches regarding gender, social systems and various systems. These studies have indicated that groups formed by female painters served to deepen the connections between painters. However, there has yet to be an in-depth understanding of the artists involved or the networks formed by these groups.\n     Gyokuyô was both a chief figure in the Getsuyôkai and at the same time had wide interactions and friendships with other female painters. This is a study of just Gyokuyô, and yet hopes to shed light on the activities of previously overlooked painters and to provide advances in a detailed understanding of the network of female painters of the time.\n     With this vantage point in mind, this article provides the following information on Gyokuyô’s life.\n     Gyokuyô was born on April 19, 1883 to parents who operated a sake brewery in Nagasaki prefecture. Her birth name was Aya. She liked drawing from an early age, and through influence from her mother, also composed tanka poetry.\n     In 1901 she entered the Sturges Seminary for Girls in Nagasaki, where she was baptized a Christian. She revealed painting talents while a student and with the support of her teachers, after graduation in 1906 she made her way to Tokyo where she entered the Joshi Bijutsu Gakko the following year. There she studied under Hashidate Shisen and was also trained by Terasaki Kôgyô at his private school.\n     In 1909 she graduated from the Joshi Bijutsu Gakko, began exhibiting works at the Bijutsu Kenseikai and Tatsumi Gakai, where she received some awards. In 1913 she had her work, A Wandering Minstrel, accepted by the 7th Bunten exhibition for the first time. This painting depicts the Niomon Gate in Asakusa in the background, with an impoverished young girl sitting at the base of the gate, with a shamisen on her knee. This work was her debut piece, and from then on she had numerous works accepted at government-sponsored exhibitions.\n     In 1914 she exhibited The Promise, composed of three young girls, into the Tokyo Taishô Exhibition. In that same year she entered a picture Child Friends, in the 8th Bunten exhibition, and A Subject of Gossip, with both being accepted for display, and Child Friends receiving an award.\n　She entered Otsuru and one other work in the 9th Bunten exhibition in 1915, Otsuru was accepted for display, but her work entered in 1916 were rejected. From then on she created fewer works on the theme of young girls.\n     In the spring of 1917 she traveled to Korea on a sketching trip. Apparent Happiness, Real Happiness, a work based on sketches made in Korea, was accepted for display in the 11th Bunten exhibition.\n     Her Christian Girl Asazuma with Cherry Blossoms depicting a Christian courtesan was accepted for display in the 12th Bunten exhibition held in 1918. Although Gyokuyô was a devout Christian, this was one of her rare works depicting a Christian theme.\n     In February 1919 her teacher Terasaki Kôgyô died, and after a time she transferred to the school of Matsuoka Eikyû. In April of that year she traveled to her hometown of Nagasaki with Ikeda Terukata, and in October entered works in the Teiten exhibition. These were based on sketches made in Nagasaki, but they were rejected. Indeed, not only Gyokuyô, but with the exception of one artist, all of the other female painters had their submitted works rejected. And this led them to consider forming a group for female Nihonga painters. And so in January 1920 Gyokuyô and six other women formed the Getsuyôkai, and held their first exhibition at Takashimaya in late June. In October, she entered two works in the 2nd Teiten exhibition, but both were rejected yet again.\n     In 1921 a new member joined the Getsuyôkai and they held their 2nd exhibition in June. In October of that year Gyokuyô had a work, the five-panel work The Legend of Kiyohime, accepted for display in the 3rd Teiten, the first time in three years. Critics commented on the yamato-e painting influence they perceived in The Legend of Kiyohime, and the following year the work was displayed at the Salon of the Société Nationale des Beaux-Arts in Paris.\n     In March 1922 she entered Kuzunoha in the Tokyo Peace Exhibition, and in June, the third Getsuyôkai exhibition was held. Unfortunately she had by then fallen ill with rheumatism and heart disease. She died at the age of 40 on the 9th of September.\n     In the first half of the Taishô period female painters acted individually among the predominantly male painters of the day, but gradually female painters gathered together and acted as a group. Gyokuyô was a chief figure in the Getsuyôkai, and can be considered one of the painters who prompted this development from individual to group activity.\n     This article has focused solely on Gyokuyô, but in the future I hope to further deepen my consideration of the networks between female painters in the modern era and the influence relationships in their works.","subitem_description_type":"Abstract"}]},"item_10001_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.18953/00006087","subitem_identifier_reg_type":"JaLC"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"田所, 泰"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Tadokoro, Tai","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2018-03-26"}],"displaytype":"detail","filename":"420_31_Tadokoro_Redacted.pdf","filesize":[{"value":"1.9 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"420_31_Tadokoro_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6112/files/420_31_Tadokoro_Redacted.pdf"},"version_id":"5a6bff57-7554-415e-b497-f86bae3dcb1b"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"journal article","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"研究ノート　栗原玉葉に関する基礎研究","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"研究ノート　栗原玉葉に関する基礎研究"},{"subitem_title":"Research Note: Initial Research on Kurihara Gyokuyô","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["966"],"pubdate":{"attribute_name":"公開日","attribute_value":"2018-12-20"},"publish_date":"2018-12-20","publish_status":"0","recid":"6112","relation_version_is_last":true,"title":["研究ノート　栗原玉葉に関する基礎研究"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:49:58.907739+00:00"}