- 著者
- 江口 みなみ
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.62, no.2, pp.104, 2011-12-31 (Released:2017-05-22)
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.
- 著者
- 江口 みなみ
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.63, no.2, pp.73-84, 2012-12-31 (Released:2017-05-22)
In 1929, the Deutscher Werkbund held the exhibition Film und Foto in Stuttgart to herald the stylistic revolution from pictorialism to the New Photography. This monumental exhibition later toured internationally, and its selection reached Tokyo and Osaka in 1931. Published research interprets this event as the first opportunity for Japanese modernists to view original works of the New Photography. However, it is also necessary to consider the radical format of the exhibition, as conceived by El Lissitzky and Laszlo Moholy-Nagy, who employed techniques of presentation from graphic design and architecture. Through the examinations of the displays of these exhibitions and subsequent cases, I would like to illustrate how the concept and technique of exhibition design developed in Japan under the influence of its precedents in Germany in the 1930s. The related materials represent that the form of the Film und Foto in Japan remained conservative. However, the idea of innovative forms of display soon developed, such as the design of NOJIMA Yasuzo's solo exhibition by HARA Hiromu in 1933, because the articles on the German magazines or the reports from Japanese Bauhausler YAMAWAKI Iwao provided Japanese modernists with a new model for considering exhibition space and opened up alternative possibilities of display.
1 0 0 0 OA 戦後ドイツにおける日本美術研究の復興
ナチス政権が崩壊し終戦を迎えた時、ドイツに住む人々の生活は完全に破壊されていた。人々に課されたゼロからの復興の出発点は、しばしば「零時Stunde Null」と呼ばれるが、日本美術の研究拠点もまたゼロからの復興を強いられた。本研究課題では、終戦直後のドイツにおける日本美術研究の状況と、その復興について調査・検討を行った。事例研究として、日本美術史家ディートリヒ・ゼッケルの戦後の活動および西独で1950年代初頭に開催された日本美術の展覧会をとりあげ、さらにドイツ人芸術家ハンス・リヒターと洋画家長谷川三郎の米国における交流について、戦後の日独美術交流が断絶した状況下で生じた事例として分析した。