The purpose of this joint research is to examine the image of “Artist” in modern Japan, an image which was different from traditional literati and imported from West just like the Art itself. Late Meiji and early Taisho period saw a surge of modernism in art and literature in Japan and special attention is paid to the significance of artists’ fashion including “nude”. Major modernists in the 1920s and the 1930s such as Ryusei Kishida, Kaita Murayama, Kyojiro Hagiwara, Tomoyoshi Murayama and so on were multi-talented and transcended traditional boundaries of genres of arts and some of them attracted public attention for their fashion and thus were widely publicized as a fashion leader. These no doubt contributed to the formation of the general image of “Artist”. Our purpose is to investigate modern fashion in terms of general art(s) history, taking into consideration western original models and its transformations in modern Japan, its reception of general public and so on. Though not every aim of this joint research set initially up has attained, our researches for them have been steadily done. It is noteworthy that taking up as a subject of joint research work “separate” phenomena hitherto seen in histories of art and literature, each member of this research group and participants in its seminar as well came to grasp social and historical significances of close relations between fashion and creative activities of artists and literary figures. The most important and common view we shared as a conclusive understanding in our researches should be summarized: as Prof. Toby Slade pointed out at one of our seminars, fashion in modern Japan was as an aesthetic and social phenomenon or cultural institution rather than a practical utilitarian tool of life. That is the reason why we have discussed clothes of Artist (among others) as a way of artistic expression with social significance. The other aspect we should like to emphasize in our joint research is that we have considered the fashion in modern Japan in terms of viewpoints from within and without, that is, on and/or from Europe and America and pre-war Asian colonies. Here are our main subjects that members of this joint research have taken up respectively: 1) Tomoyoshi Murayama in “Bubikopf” (okappa or bobbed hair style) wore a knit cap and a Rubashka or Russian blouse and these made Murayama famous as an artist and a fashion leader. 2) Women moved in the society with bobbed hair and in western clothes when female writers in the early Showa era such as Chiyo Uno and Fusa Sasaki were cutting-edge professional women. 3) Leftist painters in 1920s painted workers in so-called “Nappa-fuku” or blue work clothe and they themselves wore after factory workers and around 1930 young people such as “Marx Boy” and “Engels Girl” in blue-color clothe.
1 0 0 0 戦争画の相貌 : 花岡萬舟連作
- 著者
- 丹尾安典 喜夛孝臣編集
- 出版者
- 早稲田大学會津八一記念博物館
- 巻号頁・発行日
- 2009
1 0 0 0 OA 日本近代と「南方」概念-造形にみる形成と展開-
- 著者
- 丹尾 安典 青木 茂 岩切 信一郎 谷田 博幸 森 仁史 安松 みゆき 阿利 直治 岡谷 公二 奥間 政作 尾崎 有紀子 河田 明久 喜夛 孝臣 顔 娟英 向後 恵里子 迫内 祐司 志邨 匠子 瀧井 直子 滝沢 恭司 増野 恵子 村松 裕美
- 出版者
- 早稲田大学
- 雑誌
- 基盤研究(B)
- 巻号頁・発行日
- 2007
本研究は、日本の近代文化における「南方」概念の形成を、その視覚表現において分析し、日本の造形文化の展開に及ぼした影響を考察する基礎的な研究である。調査の対象は、沖縄、台湾、東南アジア等をふくむ広範囲な地域にわたる「南方」である。そこで生成した多様な「南方」の視覚表象を、データベースの作成をすすめながら総合的に検証し、これらの成果に基づいて「南方」イメージの形成と変遷を具体的に考察した。