{"created":"2023-05-15T13:35:02.137569+00:00","id":6247,"links":{},"metadata":{"_buckets":{"deposit":"bcae075b-4796-484b-8d4f-8aa8526ddfe9"},"_deposit":{"created_by":3,"id":"6247","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6247"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006247","sets":["20:989:1000"]},"author_link":["26427","26426"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1999-03-20","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"371","bibliographicPageEnd":"70","bibliographicPageStart":"1","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":"     Ogata Kôrin (1658-1716) holds an unassailable position as one of the most important figures in Japanese art history, and is widely known as the painter of the Iris Screens (Nezu Institute of Fine Arts) and the Red and White Plum Trees Screens (MOA Museum), both designated National Treasures. This article considers the crucial period in the formulation of current opinion on Kôrin, namely the 100 years between the Commemoration of 100th Anniversary of Kôrin's Death organized by Sakai Hôitsu (1761-1828) on the 2nd day of the 6th month of Bunka 12 (1815) and the Commemoration of the 200th Anniversary of Kôrin's Death held in Tokyo and Kyoto on June 2nd, Taishô 4 (1915). The article considers the changes which took place in Kôrin's image from four viewpoints: 1) the Edo period movements of the Hôitsu lineage, 2) the evaluation of Kôrin by the West, 3) governmentsponsored academism, and 4) the resurgence of Kôrin's designs and his image as a designer in both Tokyo and Kyoto. This material is then analyzed in terms of connoisseurship, critical terminology, and the nomenclature of the school.\n     Two fundamental books on Kôrin studies were published by Hôitsu, Ogata ryû ryaku inpu [Abbreviated seal compendium of the Ogata School] (1815) and Kôrin hyakuzu [One hundred pictures by Kôrin] (Part I in 1815, Part II in 1826), and these books proved important both in and out of Japan. They influenced the Kanô school connoisseur and pupil Ikeda Koson, and in the west, influenced such Japanese art aficionados as Louis Gonse and Siegfried Bing in the 1880s. The decorative arts revival movement which centered around these two men heightened in late 19th century France and in 1883 Gonse published his L'art Japonais which praised Kôrin as ranking amongst the best decorative artists. Around the same time, artistic circles in Japan, influenced by Ernest Fenollosa and Okakura Tenshin, were espousing the values of classical western art and developing a view of Kôrin as an “idealistic” artist. This image of Kôrin developed in Japan was then formally stated in the Histoire de l'Art du Japon (Japanese title, Kôhon Nihon teikoku bijutsu ryakushi), published on the occasion of the Paris World Exposition of 1900. Ironically, it was this World Exposition which exposed the Japanese art world to the western decorative arts which had already flourished in Europe as the Art Nouveau movement, and this brought about an active “reverse import” of Western ideas on Kôrin to Japan. Then, as seen in such books as Kôrinha gashû [Masterpieces selected from the Kôrin school] (1903-06) and Tôyô Bijutsu Taikan [General survey of East Asian art] (1909) published under the influence of government-sponsored academism, Japanese authors took a self-congratulatory tone in their nationalistic praise of Kôrin as a world-class decorative artist. On the commercial front, retailers such as the Mitsukoshi Gofukuten dry goods store in Tokyo took advantage of the favorable economy and began to sell Kôrin designs arranged in a Meiji fashion (Kôrin-style Meiji designs) and these designs proved very popular. In Kyoto, a young flower arrangement artist, a lacquer artist, and some painters gathered around Asai Chû and they developed an image of Kôrin as a new form of designer. This image, combined with the reception of Art Nouveau aesthetics, then led to the creation of a number of innovative ceramic and lacquer craft objects with Kôrin designs or in the Kôrin style. In 1915, the Mitsukoshi Gofukuten dry goods store organized events in both Tokyo and Kyoto to commemorate the 200th anniversary of Kôrin's death. It was against the background of this Kôrin boom related to the cultural activities of the Mitsukoshi group and the Kôrin revival in Kyoto that the first truly scholarly research on Kôrin was conducted by Fukui Rikichirô.\n     Thus, we must not overlook the introduction of western artistic views and their diverse impact as we consider the following changes in the appreciation of Kôrin's pictures over a century: 1) while the basic connoisseurship of Kôrin's paintings established in the Edo period was continued, previously unknown works in Daimyô (feudal lord) and temple collections were brought to light and affected this connoisseurship, 2) the critical term “decorative” which epitomizes the western view of Kôrin was applied and understanding of this construct resulted in a division between art and artistic crafts, and 3) Edo period artistic lineages were reorganized and strengthened under the influence of a progressive historical view and aesthetic standards that emphasized originality and this led to the school-lineage based view of the Rimpa lineage as Kôetsu, Sôtatsu, Kôrin, and Hôitsu. These considerations of the changes in the Kôrin image are also relevant to, and provide room for consideration of, the values and standards of art history in Japan, whether of the Edo period, the early modern period, or our contemporary studies. Our views as the current generation of researchers are also clearly not free of the value systems formulated during the dramatic period of upheaval discussed in this article.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"玉蟲, 敏子"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Tamamushi, Satoko","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":"371_1_Tamamushi_Redacted.pdf","filesize":[{"value":"73.4 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"371_1_Tamamushi_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6247/files/371_1_Tamamushi_Redacted.pdf"},"version_id":"77ef04f6-33c0-4313-bd51-90de668a1edb"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"『みやこぶり』「縮緬薄菫花の薄落染日英同盟の裾模様」・「紺銕地の塩瀬にアールヌボー式の白上模様」・「藍鼠地落染光琳水に秋草の裾模様」「錆銕地薄落染光琳水に小紋燕子花の裾模様」（財団法人三井文庫蔵）尾形光琳・酒井抱一・ゴンズ・ビング・岡倉天心・光琳派画集・光琳模様・三越呉服店・福井利吉郎「光琳考」・「装飾的」","subitem_subject_scheme":"Other"},{"subitem_subject":"Plates from Mitsukoshi Department Store Advertising Sample Book, Miyakoburi, 1903, Mitsui Research Institute for Social and Economic History (Design of the Symbol of “The Angro-Japan Alliance,” Chirimen (Crepe), Dyed light violet (right) and another design / Design of White Stripes in the Art Nouveau Style, Shioze Silk, Dyed dark blue (lower left) and other designs / Design of Autumn Grasses and Korin-mizu (Stream in Korin Style), Dyed grayish blue (right) and another design / Desing of Irises, Small Patterns, and Korin-mizu, Dyed light bluish gray (left) and another design)","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":"《光琳観の変遷》一八一五―一九一五","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"《光琳観の変遷》一八一五―一九一五"},{"subitem_title":"Transitions in the Image of Korin -- 1815-1915","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1000"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6247","relation_version_is_last":true,"title":["《光琳観の変遷》一八一五―一九一五"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:40:10.880708+00:00"}