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アイテム
水墨の変容（承前）
https://tobunken.repo.nii.ac.jp/records/6293
https://tobunken.repo.nii.ac.jp/records/6293018d6529-34bb-4fcc-a684-ae8544ba6e22
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
345_16_Satou_Redacted.pdf (18.9 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 公開日 | 2017-10-05 | |||||||||
| タイトル | ||||||||||
| タイトル | 水墨の変容（承前） | |||||||||
| タイトル | ||||||||||
| タイトル | Transformation of Ink Painting (Continuation) | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 狩野芳崖 雪山暮渓図・江山望楼図（米国 フリア美術館蔵）・木村立嶽 巌間望月図・雪景山水図（米国 ボストン美術館蔵）・横山大観 冬嶺帰雁図（個人蔵） | |||||||||
| キーワード | ||||||||||
| 言語 | en | |||||||||
| 主題Scheme | Other | |||||||||
| 主題 | “Winter Landscape” and “Landscape with a Pavilion” both by Kano Hogai, Freer Gallery of Art / “Scholar Viewing the Moon” and “Snowscape” both by Kimura Ritsugaku, Museum of Fine Arts, Boston / “Flying Geese beyond a Mountain Peak” by Yokoyama Taikan, Private Collection | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | journal article | |||||||||
| 著者 |
佐藤, 道信
× 佐藤, 道信
× Sato, Doshin
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | According to the theory of Mr. Teisuke TODA, Chinese ink painting reduced colours to monochrome for attaining three-dimensional illusion and there polychromy and monochromy were interchangeable. On the other hand, in Japan, ink painting was regarded as being a novel monotonic art when it was introduced and ink has functioned as black tint. The ink landscapes in the Kangakai of early Meiji Era, too, was basically on the line of this tradition. However, the utmost objective in ink landscape painting of the artists of the Kangakai was the depiction of light and three-dimensionality. Therefore, snowscape which did not require much use of brush lines was often chosen for the subject. Thus the description of colours by ink was not necessarily their aim. But light and colour were indivisible entities. The light-and-shadow gradation resulted in the sense of colour, or to be more precise, Western sense of colour with the feeling of light. In an early phase of Chinese ink painting also, snowscape and evening view in which colours were limited were frequently taken up. In this case the phenomenon appeared in the process from polychromy to monochromy. On the contrary, that of the Kangakai formed the vector from monochromy to polychromy. That means, the artists were finding the effect of colours in ink. The coloured landscape in which the Oriental brush strokes remained and the gradation of ink was replaced by colours, consequently emerged, and after that, coloured landscape, in which Oriental type of brush strokes were replaced by Western type of expression, followed. This kind of tendency promoted the assimilation of Western watercolour, since it could be understood as being the counterpart of ink painting whose solvent was water as well. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 345, p. 16-28, 発行日 1989-11-27 |
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