{"created":"2023-05-15T13:34:58.253228+00:00","id":6176,"links":{},"metadata":{"_buckets":{"deposit":"90d247f5-25f3-480a-b015-adf93b4f9dca"},"_deposit":{"created_by":3,"id":"6176","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6176"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006176","sets":["20:968:980"]},"author_link":["26271","26270"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2007-09-28","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"392","bibliographicPageEnd":"66","bibliographicPageStart":"43","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":"     This article will discuss the Nihonga painter Kawabata Gyokushô who enjoyed a prosperous career throughout the Meiji era. Gyokushô was trained in Kyoto in the Maruyama school. He then moved to Tokyo where he received the patronage of the Mitsui family. Over the course of his career Gyokushô garnered a number of awards at the Domestic Industrial Exhibitions and at exhibitions held by the Naikoku Kaiga Kyôshinkai (Domestic Painting Competitive Exhibitions). He was active in fostering younger artists through both teaching at the Tokyo Bijutsu Gakkô and through his establishment of the Kawabata Painting School. Gyokushổ's importance in the Meiji art world and at the Tokyo Bijutsu Gakkô rivaled that of Hashimoto Gahô who also taught at the same school. Indeed, along with Gahô, Gyokushô was one of the leaders of the painting world at the time. These two leading figures took opposite approaches in their training and leadership. Gahô inherited the traditions of the Kanô school and trained such artists as Yokoyama Taikan and Hishida Shunshô to become artists in the Nihon Bijutsuin lineage. Gyokushô, on the other hand, similarly reflected his training in the Maruyama school, fostering such students as Hirafuku Hyakusui and Yuki Somei in the Musei-kai group, which rivaled the Nihon Bijutsuin group. While Gahô has been frequently discussed in the midst of his position within the Nihon Bijutsuin lineage, discussion of Gyokushô has been comparatively minimal, considering the import of Gyokushô and his followers in the Musei-kai in the overall realm of modern Nihonga painting. This constitutes a gap in art history studies conducted so far. Thus this article seeks to address Gyokushô's oeuvre overall from the following four viewpoints.\n\n1. Gyokushô and the Mitsui family \n2. Gyokushô's production of western style paintings \n3. Gyokushô's view of “Shinaga” (Chinese paintings) \n4. Gyokushô's position within the mid-Meiji period \n(Sections 3 and 4 to be discussed in the next issue)\n\n     Section 1 provides an overview of Gyokushô's lifelong relationship with his patrons the Mitsui family. The Mitsui family had established their fortune in the Edo period as kimono merchants and moneylenders. They had long been associated with the Maruyama school of painters, beginning with its founder Maruyama Ôkyo. Gyokushô was first treated like a young acolyte for the family and it would be impossible to discuss Gyokushô's career without mention of the family. While of course there are many examples of artists receiving financial patronage during the modern Japanese period, few were treated as well as Gyokushô, who was treated like a member of their own family. Thus, while many Nihonga painters suffered financial difficulties at the beginning of the Meiji era and others like the Kanô school artists such as Gahô were employed at organizations and facilities run by the new government, it is notable that Gyokushô was a painter from the Maruyama school who was nurtured by the emerging and wealthy urban middle class.\n     The second section focuses on Gyokushô's creation of western style paintings during the early Meiji era. The taste for western style paintings peaked in the early Meiji era. Many of the Nihonga painters of the day, including Gyokushô, briefly turned their talents to creating them. While this is well known, much remains unclear about extant examples or their related materials and documents. In Gyokushô's case, it can be seen that he did not shed all of his traditions and suddenly become a western style painter. Rather he used such traditional Japanese decorative painting elements as gold grounds and vivid palettes to endure this period of relative obscurity for his traditional painting style.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"塩谷, 純"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Shioya, Jun","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":"2017-10-05"}],"displaytype":"detail","filename":"392_43_Shioya_Redacted.pdf","filesize":[{"value":"27.3 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"392_43_Shioya_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6176/files/392_43_Shioya_Redacted.pdf"},"version_id":"8a1820fe-b69f-4777-97c6-d4b512b3bbf5"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"川端玉章　草花図・川端玉章　墨堤春暁（明治二十三年・東京藝術大学大学美術館蔵）三井家・洋画","subitem_subject_scheme":"Other"},{"subitem_subject":"Flowering Plants, by Kawabata Gyokusho / Spring Dawn on the Sumida River, by Kawabata Gyokusho, University Art Museum - Tokyo National University of Fine Arts and Music","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"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":"川端玉章の研究（一）","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"川端玉章の研究（一）"},{"subitem_title":"Research on Kawabata Gyokusyo (I)","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["980"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6176","relation_version_is_last":true,"title":["川端玉章の研究（一）"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:43:55.047798+00:00"}