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An accidental visit to this society in 1900 by Imamura Shikō (1880-1916) caused an intimate friendship between him and Yukihiko. Shikō, then studying under Matsumoto Fūko, joined the society together with a few of his schoolmates, and the society on this opportunity was renamed Kōji-kai, meaning a society of babies which expressed the will of its members to re-begin their lives as artists. The Kōji-kai had its first exhibition in 1902, and was disbanded after its nineteenth exhibition in 1913. Its members, who were youthful artists around twenty years of age at the time of its foundation, were promising hopes of fairly established reputation by this time. The society in its later period held an important position in Japanese painting, with its additional prominent members who joined it after 1908 such as Kobayashi Kokei and Maeda Seison, pupils of Kajita Hanko, and further afterwards Nagano Sōfū, Ishii Tempū, Arai Kampō, Hayami Gyoshū, and so on.\n Kobori Tomoto was a good master in treating of historical subjects. His “Warrior\" may be called a representative work of the sort in the art of the Meiji Period. His style, however, still could not be free from the traditional and conventional atmosphere which prevailed at the time. Shikō endeavored to break through such rigid, conventionalised type into a new, free style expressive of his own individuality. In search of such an original style, he studied various techniques of art, such as the Sōtatsu school of decorative painting, the “amateur” style of literate painting, and even the impressionistic style of French art. His devotion for a novel style went so far as to deny any art treating of historical subjects.\n Yukihiko was specialised in historical subjects. But his depiction was by far more modernistic than that of Kobori Tomoto, and was based upon his own interpretation of history which he formed by an exhaustive study of classic literature. and art The Kōji-kai Society was supported by those two main posts, Shiko and Yukihiko, bejewelled with a good many talents between them. Short-lived and small-scale though it was, its history may be taken as a miniature of the history of Japanese painting in recent age. 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紅児会略史
https://tobunken.repo.nii.ac.jp/records/7149
https://tobunken.repo.nii.ac.jp/records/7149517a4cb7-c809-4c59-94fd-9e758e6bdfba
名前 / ファイル | ライセンス | アクション |
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160_1_Kawakita_Redacted.pdf (24.9 MB)
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Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2016-12-27 | |||||
タイトル | ||||||
タイトル | 紅児会略史 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | An Outline History of the Kojikai Society | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 小堀鞆音 武士(東京藝術大学蔵)・今村紫紅 大原の奥(東京 野間清六氏蔵)・今村紫紅 伊達政宗(神奈川 原良三郎氏蔵)・今村紫紅 宇津の山路(東京 大谷米次郎氏蔵)・安田靫彦 夢殿(国立博物館蔵) | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | An Outline History of the Kojikai Society | |||||
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 |
河北, 倫明
× 河北, 倫明× Kawakita, Michiaki |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | The Kōji-kai Society originated in a small group of young painters, at first named Shiko-kai, organised in about 1898 by Yasuda Yukihiko (1884- ) and his fellow students such as Koyama Eitatsu and Isoda Chōshū learning from Kobori Tomoto. An accidental visit to this society in 1900 by Imamura Shikō (1880-1916) caused an intimate friendship between him and Yukihiko. Shikō, then studying under Matsumoto Fūko, joined the society together with a few of his schoolmates, and the society on this opportunity was renamed Kōji-kai, meaning a society of babies which expressed the will of its members to re-begin their lives as artists. The Kōji-kai had its first exhibition in 1902, and was disbanded after its nineteenth exhibition in 1913. Its members, who were youthful artists around twenty years of age at the time of its foundation, were promising hopes of fairly established reputation by this time. The society in its later period held an important position in Japanese painting, with its additional prominent members who joined it after 1908 such as Kobayashi Kokei and Maeda Seison, pupils of Kajita Hanko, and further afterwards Nagano Sōfū, Ishii Tempū, Arai Kampō, Hayami Gyoshū, and so on. Kobori Tomoto was a good master in treating of historical subjects. His “Warrior" may be called a representative work of the sort in the art of the Meiji Period. His style, however, still could not be free from the traditional and conventional atmosphere which prevailed at the time. Shikō endeavored to break through such rigid, conventionalised type into a new, free style expressive of his own individuality. In search of such an original style, he studied various techniques of art, such as the Sōtatsu school of decorative painting, the “amateur” style of literate painting, and even the impressionistic style of French art. His devotion for a novel style went so far as to deny any art treating of historical subjects. Yukihiko was specialised in historical subjects. But his depiction was by far more modernistic than that of Kobori Tomoto, and was based upon his own interpretation of history which he formed by an exhaustive study of classic literature. and art The Kōji-kai Society was supported by those two main posts, Shiko and Yukihiko, bejewelled with a good many talents between them. Short-lived and small-scale though it was, its history may be taken as a miniature of the history of Japanese painting in recent age. Most of the young artists brought up in this society later joined in the re-establishment in 1914 of the Nippon Bijutsu-in which led the art renovation movement, and became distinguished figures in the modern Japanesestyle painting. |
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書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 160, p. 1-18, 発行日 1951-03-20 |