著者

原田 礼帆 Harada Ayaho

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.1-17, 2020-03-31

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The objective of this article is to describe the acceptance of Rimpa by Imamura Shiko (1880-1916). He is one of representative Japanese painters in late Meiji and early Taisho era. And also he is famous for the artist who likes the style of Rimpa. However there are few studies which reveal how Shiko studied Rimpa on the way to search for “New Japanese art”. In peak period of work, he made three paintings which have same theme: “Ise Monogatari”. He rarely made paintings of the same theme. Also, this theme has been taken over by Rimpa. Therefore this article focuses specifically on three “Ise Monogatari” themed paintings by Shiko and indicates the changing among those paintings. The first chapter suggests the subject and surveys the theme of “Ise Monogatari” as paintings. It is popular theme in Japanese art and there are famous works by Rimpa. The second chapter describes details of three paintings by Shiko. First of all, “Narihira Azuma kudari” was painted in 1911. Next, “Utsu no Yamaji” was painted in 1912. Lastly, “Tsuta no hosomichi” was painted in 1913. All paintings set theme in “Azuma kudari” from “Ise Monogatari”. And also this chapter compares characteristic points of three paintings: the expression of figure and the depiction of nature. Shiko followed his master’s way in early period. His master is famous for historical paintings which expresses fine figures. However, he introduced style of Yamato-e for second one. And third one draws near style of Rimpa. The third chapter defines process and importance of acceptance of Rimpa by Shiko in modern Japanese paintings. Ogata Korin has been realized the importance in the middle of the Meiji era. Nevertheless, only few people recognized Tawaraya Sotatsu in that time. Shiko and his patron contributed to revival Sotatsu’s way in modern. The fourth chapter concludes Shiko accepted way of Rimpa for his painting step by step. And his painting was changing by the degree of his understanding of Rimpa’s way. The observations may help to develop the investigation of Shiko’s late paintings in the movement of creating “New Japanese art”. Moreover, it may be useful to those who investigate Japanese paintings in Taisho era.