著者

石田 智子

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 = Journal of East Asian Cultural Interaction Studies

巻号頁・発行日

vol.5, pp.407-423, 2012-02-01

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This thrust of this essay is to consider the changes and the relationship of the various influences in Hōgai’s works through a comparison of two works, Kannon with Hibo Kannon, and an analysis of Niōsokki. From an analysis of these works, the newness of Hōgai’s later works can be seen in his technical use of ink painting and colour painting. Two other examples unrelated to motif are the uniformity of his brushstrokes and an expressive “smearing”. Hōgai’s late works reflect a wide range of elements: designs inherited from the early Edo period, the influence of techniques that appeared at the end of the Edo period and early Meiji period, techniques from Western painting, and Fenollosa’s theories. The relationship between Hōgai and Fenellosa cannot be reduced to the simplistic statement that “Japanese culture had changed after the acceptance of Western culture”. It should, I suggest, be seen as a mutual exchange. Hōgai’s late works can only be understood as the product of a cultural exchange of multiple periods, places and people