{"created":"2023-05-15T13:34:59.030056+00:00","id":6193,"links":{},"metadata":{"_buckets":{"deposit":"9e4c2965-d39d-45d3-accd-feb480f35e33"},"_deposit":{"created_by":3,"id":"6193","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6193"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006193","sets":["20:968:983"]},"author_link":["26308","26309"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2008-08-28","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"395","bibliographicPageEnd":"97","bibliographicPageStart":"85","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 considers to what lengths Koide Narashige\n(1887-1931) ―― highly renowned for his matière which was\ndubbed the “birei na gamen,” literally beautiful painting\nsurface, by Yasui Sôtarô –– went to create what type of\npainting surfaces. Up until now, the matière of his works\nhas been noted as Koide’s greatest characteristic. However,\nthere has been no detailed examination of how such matière\nwas expressed. What kind of painting surface was Koide\nstriving for?\n     In addition to expressing whatever is depicted in a\npainting, the surface of a painting also contains traces\nof the painter’s actions and intentions, and indeed, the\npainting materials of the surface also emphasize the materials\nthemselves. What kind of painting surface did Koide create?\nThis essay considers what type of formative awareness lies\nbehind Koide’s surfaces, and is based on an appreciation of\nthe issue of how Koide’s surfaces are positioned in the history\nof formative arts.\n     It seems that Koide always strove to create a smooth\nand velvety matière, no matter what painting methods he\nused, from the expression of highlights to the selection of\nmotifs or the use of deform methods. When he depicted\nthe reflection of light, he did not build up his pigment\non the painting surface to render a highlight, rather he\npainted the highlights as if they were something reflected\nin a mirror, where the surface of the motif was so smooth\nthat it was reflective itself. Further, he selected motifs that\nhad a swelling skin of a surface, which he then rendered\nin deformé style, highlighting the differences in shape and\nmaterial rather than creating a detailed depiction. The\nmotifs rendered in such deformé form were then placed on\na table that reflected their shapes, further emphasizing the\nsmooth shine of the tabletop. In the case of Standing Nude\n(Mie Prefectural Art Museum), he coated the surface of the\npainting with translucent pigments that are almost invisible\nto the naked eye, thus effectively enhancing the model’s skin.\n     Koide’s characteristics –– such previously considered\nseparate aspects as his highlights, use of deformé, and\nhandling of materials on his painting surface –– were in\nfact intended by Koide as a totality for conveying a smooth\nsurface. Wasn’t the aim of Koide’s creation of painting\nsurfaces to emphasize the material nature of the motif by\nthe very substance of paint materials, to show the physical\nquality as smooth, and to render the painting surface in the\nsmoothest possible fashion. For Koide, who also painted on\nglass, a smooth surface texture allowed him to approach the\nEuropean painting traditions that he considered the pinnacle\nof oil painting production, and clearly this aspect of painting\nwas the entire focus of his efforts. Further, it can also be\nsurmised that the contemporary direction of painting can be\nseen in such efforts.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"小林, 未央子"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Kobayashi, Mioko","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":"395_85_Kobayashi_Redacted.pdf","filesize":[{"value":"1.9 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"395_85_Kobayashi_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6193/files/395_85_Kobayashi_Redacted.pdf"},"version_id":"c7ff8bf7-a1af-4787-a935-8964f90b6d04"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"小出楢重　裸女立像（大正十四年・三重県立美術館蔵）グレーズ・ハイライト・岸田劉生","subitem_subject_scheme":"Other"},{"subitem_subject":"Standing Nude, by Koide Narashige, Mie Prefectural Museum of Art","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":"研究ノート　なめらかな表面のために―小出楢重再考―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"研究ノート　なめらかな表面のために―小出楢重再考―"},{"subitem_title":"Research Note: For a Smooth Surface: A Reconsideration of Koide Narashige","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["983"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6193","relation_version_is_last":true,"title":["研究ノート　なめらかな表面のために―小出楢重再考―"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:44:38.175131+00:00"}