著者

八代 修次

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.88, pp.105-131, 1989

---

I. 草土社と慶應義塾幼稚舎II. 岸田劉生と草土社III. 草土社の図画教育観結びFow over two and a half decades since 1922, the art education at Keio Gijuku Yochisha elementary school was undertaken by painters belonging to the Sodosha group. This group was sponsored by Ryusei Kishida and consisted of Michisei Kono, Hitoshi Seimiya, Shohachi Kimura, Sadao Tsubaki and others. By this group, art education at Yochisha became a landmark in the history of art education in Japan, because at that time Jiyuga-Kyoiku, which was proposed by Kanae Yamamoto, spread all over Japan. Yamamoto emphasised that elementary school children should no longer copy Sintei-Gacho as instructed by the government, but create and draw after nature itself. On the other hand, Kishida stressed the appreciation of famous art works and the copying of them. This method of art education, Kishida called Jiyuringa-Ho. He also believed that this method would be of more benefit later on in life. In this article, I pay particular attention to Kishida's basic ideas on art education during his Sodosha era (1915-22), which were stated in his essay. One of my points is that his Jiyuringa-Ho is valid in his own work.

著者

八代 修次

出版者

慶應義塾大学

雑誌

哲學 (ISSN:05632099)

巻号頁・発行日

vol.46, pp.307-317, 1965-02

---

橋本孝先生古希記念論文集The characteristics of Italian Mannerism as represented by Vasari and Bronzino were these ; the flattening of figures, their action in two dimensions, the isolation of principal figures and groups of figures. It was illustrated by Vasari in the explanation of the word " maniera " of his " The Lives of the Painters, Sculptors and Architects" that these characteristics were used for the purpose of creating the graceful figures. The same characteristics mentioned above can been seen in the painting of Pieter Bruegel the Elder, such as " The Battle between Carnival and Lent ", " Children's Games ", " The Peasant's Wedding " and " The Dance of the Peasants ", which he worked out after his journey in Italy. We must, however, emphasize that he did not make use of any graceful figures as his subjects, for he suggested the universal human being in the form of peasants in the same manner as he arranged all sorts of things in nature according to the universal order shown in his landscape painting. Here we can recognize the original quality of Mannerism that Bruegel established in his Flanders.