{"created":"2023-05-15T13:35:13.081654+00:00","id":6423,"links":{},"metadata":{"_buckets":{"deposit":"ef4ad3db-4d29-4a63-85b7-8c1d88143a8c"},"_deposit":{"created_by":3,"id":"6423","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6423"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006423","sets":["20:1031:1049"]},"author_link":["26792","26793"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1987-03-14","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"338","bibliographicPageEnd":"34","bibliographicPageStart":"16","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":"     One important aspect of the painting history in the Edo Period is that depicting “the real” of the subject was respected as a motto. However, this attitude in painting activity cannot be interpreted in the same perspective as the artistic ideology of realism that emerged in modern Europe, because the historical context in which the attitude was generated in Japan naturally differed from the circumstances in Europe. The purpose of this study is to consider the dimensions of the meaning of the phrase “to describe the real” as understood by Edo Period painters, by taking up a specific work as reference. The work to be discussed is “Camels” by Maruyama Ōshin (1790-1838), the grandson of Maruyama Ōkyo (1733-1795), which bears the painter's inscription that “Ōshin described the real on the ninth month of the seventh year of the Bunsei Era (1824)”.\n     The camels painted in this work are a pair of one-humped camels, brought to Nagasaki in 1821 by a Dutch ship, that toured throughout Japan as a part of a show party. They were the first camels seen by the Japanese of the Edo Period. In Nagasaki, the publishers of “Nagasaki woodblock prints” sold as souvenirs, whose subject matters were mainly the incidents in Nagasaki such as the arrival of Europeans or of rare animals, were the first to jump at the camels. The show with the camels satisfied the curiosity of the people and became widely known, and was recorded in detail in essays and diaries, and furthermore, a comical novel on the camels was written.\n     On the other hand, two learnings with interest in physical objects of the natural world such as animals and minerals were being spread in the Edo Period from the second half of the eighteenth century. One was Honzōgaku, based on Chinese natural-history type learning with a long tradition, and the other was a scholarship known as Rangaku, in which Westerm learning and knowledge were introduced from Dutch language sources. The former had prepared information about camels based on Chinese knowledge, and the latter had offered the concept of camels based on the copperplates in illustrated zoological books imported from the West.\n     People were looking at the camels in such cultural and social circumstances. In brief, the populace observed the camels at the show and in pamphlets sold there, as well as in the comical novel, while the well-inforrmed saw the animals from the viewpoint of Honzōgaku and Rangaku in addition to these. The camels, viewed in such a cultural and social context, began to bear various connotations, one of which was that of a happily married couple. Ōshin was a man who held this notion, and depicted the camels with such a connotation. The painter adapted the traditional painting methods of the Maruyama school as seen in the fine rendering of fur and shading, and in the composition close to the bird-and-flower paintings, in his effort to let the painting meet the imagery of the camel held by the people of the times. Ōshin after all found a point of compromise between the analytical observation of the subject matter as a physical object and the general imagery, and soght to solve the problem by skillfully enframing the subject with the convention of the Maruyama school. This was the painter's manner of approach to the subject which was explained by his words in the painting, “described the real.”\n     Shiba Kōkan (1747-1818) was a painter who was active almost simultaneously with Ōshin. He associated with scholars of Rangaku and tried to master the techniques of Western painting that excelled in reproducing reality, through the linguistic help of these scholars. When comparing Kōkan and Ōshin, it is not difficult to say that the latter was eclectic and conservative, but the trend of the history of painting from the second half of the eighteenth to the nineteenth century cannot be fully grasped by such an understanding alone. The writer considers rather that the dynamism of the history of painting in the Edo Period can only be understood by clarifying the fact that even painters who valued the heritage accumulated in their schools were trying to turn their attention to actual physical objects. Even Ōshin's grandfather Ōkyo had already recommended that the object be observed by the artists' own eyes.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"鈴木, 廣之"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Suzuki, Hiroyuki","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":"2017-10-04"}],"displaytype":"detail","filename":"338_16_Suzuki_Redacted.pdf","filesize":[{"value":"23.5 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"338_16_Suzuki_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6423/files/338_16_Suzuki_Redacted.pdf"},"version_id":"72f0efa4-dd8a-4e90-b06d-f48491b1e390"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"円山応震筆駱駝図（ロサンゼルス　心遠館蔵）","subitem_subject_scheme":"Other"},{"subitem_subject":"“Camels” by Maruyama Oshin, The Shin’enkan, U. S. A.","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":"ラクダを描く―円山応震筆駱駝図をめぐって","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"ラクダを描く―円山応震筆駱駝図をめぐって"},{"subitem_title":"To Depict the Camel: “Camels” by Maruyama Oshin","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["1049"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6423","relation_version_is_last":true,"title":["ラクダを描く―円山応震筆駱駝図をめぐって"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:35:11.156719+00:00"}