5 0 0 0 OA 松前藩の絵画戦略──〈夷酋列像〉と京都
- 著者
- 白石 恵理
- 出版者
- 近世京都学会
- 雑誌
- 近世京都 (ISSN:21886709)
- 巻号頁・発行日
- vol.5, pp.23-42, 2022-09-20 (Released:2023-08-05)
Ishū retsuzō is a set of portraits of twelve Ainu chiefs-painted by Kakizaki Hakyō (Kakizaki Shōgen Hirotoshi, 1764–1826), a painter and poet who was also a house elder of the Matsumae domain. It was created in the aftermath of an Ainu uprising in the eastern Ezo districts of Kunashiri and Menashi in the fifth month of Kansei 1 (1789). After the completion of the set, which took a whole year, it was first taken to Kyoto, where it was viewed by Confucian scholars, court nobles, and finally Emperor Kōkaku.In those days, the Tokugawa shogunate was increasingly vigilant against foreign ships such as Russia approaching the Ezo districts.The Ishū retsuzō paintings represent the Ainu chiefs as loyal vassals (kōshinzu) in the same manner as the Kenjō no sōji, a set of wall panels for the Shishinden Hall in the imperial palace in Kyoto. Based on that style, trade goods and products of Ezo are elaborately depicted in a manner resembling natural history illustrations. This choice of mode, following the Kenjō no sōji, suggests that the intention was to convey loyalty to the emperor. Moreover, the preface and the appendices by Matsumae Hironaga also reiterate the Matsumae domain’s position as “the keystone of defense in the north.”Utilizing these “Ezo” paintings by the rising artist Hakyō, the main purpose of this project must have been to introduce the Matsumae’s cultural maturity to the emperor, whom the domain lord admired, as well as to court nobles and the most famous Confucian scholars of the day in Kyoto, thus further strengthening ties between Kyoto, with the imperial court, and the Matsumae domain.
5 0 0 0 OA 松前藩の絵画戦略──〈夷酋列像〉と京都
- 著者
- 白石 恵理
- 出版者
- 近世京都学会
- 雑誌
- 近世京都 (ISSN:21886709)
- 巻号頁・発行日
- no.5, pp.23-42, 2022-09-20 (Released:2022-10-22)
Ishū retsuzō is a set of portraits of twelve Ainu chiefs-painted by Kakizaki Hakyō (Kakizaki Shōgen Hirotoshi, 1764–1826), a painter and poet who was also a house elder of the Matsumae domain. It was created in the aftermath of an Ainu uprising in the eastern Ezo districts of Kunashiri and Menashi in the fifth month of Kansei 1 (1789). After the completion of the set, which took a whole year, it was first taken to Kyoto, where it was viewed by Confucian scholars, court nobles, and finally Emperor Kōkaku. In those days, the Tokugawa shogunate was increasingly vigilant against foreign ships such as Russia approaching the Ezo districts. The Ishū retsuzō paintings represent the Ainu chiefs as loyal vassals (kōshinzu) in the same manner as the Kenjō no sōji, a set of wall panels for the Shishinden Hall in the imperial palace in Kyoto. Based on that style, trade goods and products of Ezo are elaborately depicted in a manner resembling natural history illustrations. This choice of mode, following the Kenjō no sōji, suggests that the intention was to convey loyalty to the emperor. Moreover, the preface and the appendices by Matsumae Hironaga also reiterate the Matsumae domain’s position as “the keystone of defense in the north.” Utilizing these “Ezo” paintings by the rising artist Hakyō, the main purpose of this project must have been to introduce the Matsumae’s cultural maturity to the emperor, whom the domain lord admired, as well as to court nobles and the most famous Confucian scholars of the day in Kyoto, thus further strengthening ties between Kyoto, with the imperial court, and the Matsumae domain.
1 0 0 0 日本における上海土山湾工房作品の流布と影響に関する調査
土山湾は中国上海市徐家匯地区の村落である。1864年にイエズス会がそこに孤児院を設立し、職業訓練の工房を開設し、1950年代まで運営した。そこで制作された美術工芸品と印刷物は、幕末から昭和初期まで日本に輸入されて、博物館、記念館、修道院等に収蔵され、幅広く利用されている。本研究では、①日本に散在する土山湾の美術工芸品と刊行物に関する網羅的調査とデータベース化、②国内諸機関の書誌に対する補足情報の提供、③土山湾作品を手本とした幕末~明治初期の「プティジャン版」と布教用木版画の分析を通して、土山湾の作品が日本文化に与えた影響を検討し、日本現存の作品の保存と研究の推進に寄与したいと考える。
- 著者
- 栗本 葉子 黒田 吉孝 白石 恵理子
- 出版者
- 滋賀大学教育学部
- 雑誌
- 滋賀大学教育学部紀要 1 教育科学 (ISSN:13429280)
- 巻号頁・発行日
- no.59, pp.89-97, 2009
- 著者
- 白石 恵理子
- 出版者
- 全国障害者問題研究会
- 雑誌
- 障害者問題研究 (ISSN:03884155)
- 巻号頁・発行日
- vol.34, no.2, pp.110-117, 2006-08
青年期は、第2次性徴のような身体的変化によって特徴づけられる青年期前期と、アイデンティティや価値観の確立といった心理的な成熟を特徴とする青年期後期に大きく分けられる。本稿では、知的障害や発達障害のある青年が青年期後期にあたる18歳から20歳の時期にどのような変化を見せるのかを、3人の事例から具体的に明らかにしようとした。思春期・青年期前期は自我の再構成の時期にあたり、障害青年においてもさまざまな揺れや葛藤をみせる。青年期後期においてもそうした「行きつ戻りつ」の姿を示しつつ、新たな社会的関係のなかで、徐々に自己決定が可能になったり、自らの要求の主体になりゆく姿がいずれの事例でもみられた。ただし、その具体的なあらわれかたは、障害の程度や発達段階、さらに青年期に至るまでの生育歴・教育歴等々の複雑にからみあった要因によって、きわめて個性的であり、一面的な理解に陥らないようにしなければならない。
- 著者
- 白石 恵理
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.52, no.3, 2001