著者

清水 友美

出版者

成城大学大学院文学研究科美学・美術史研究室

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.22, pp.1-41, 2016-03

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From the Meiji to the Taisho period, a nudity controversy surfaced several times. Hakuba-kai, which was led by Seiki Kuroda, considered the nude the basis of Western art, but the Japanese did not have sufficient knowledge of western art to understand. This lack of knowledge caused the dispute. Subsequently, authorities regulated nudity in exhibitions and publications for a long period of time. Regulation of nudity has already beenstudied, but we need to investigate the kind of nudity regulated and the regulations that influenced painters and their activities. This paper investigates the Hakuba-kai Exhibition, Ministry of Education Art Exhibition (Bunten Exhibition), and Nika Art Exhibition from the viewpoint of regulation, focusing on the transition of the depiction of the nude woman from the Meiji to the Taisho period. Before the Meiji period, women and men wore clothing that allowed them to accomplish their work. Their ideas about covering the body were not hindered by western morality-based conventions. However, by imitating western culture to enforce “Ishiki kaii jyourei, the ordinance designed to emulate foreigners’propriety,” the thought planted in the Japanese mind was that nudity was obscene. Thereafter, authorities regulated publications with nude images. Kuroda’s Le Lever, which was exhibited at the 4th Domestic Industrial Exposition, served as a challenge to authority and generated the nudity controversy in newspapers. Afterward, police required that Kuroda’s “Nude,” which was exhibited at the 6th Hakuba-kai Exhibition in 1901, be covered with a cloth below the waist. That is, this is the “koshimaki (waistcloth) incident.” The incident was the outcome of the Security Police law implemented in 1900 and led the painters of Hakuba-kai to draw nude women with waist coverings. Police and the Ministry of Education continued to regulate nudes in art after the Bunten Exhibition. The Ministry of Education told painters that they must eliminate nude images from their works, and this caused a situation in which many nude drawings were disqualified from winning awards. The Minister of Education ultimately declared that police must not invade the winning work of the Bunten Exhibition in 1917. Partially clothed woman continued to be exhibited in the art at the Bunten Exhibition, and for a short time painters drew an idealized nude. They gradually began to draw frontal nudes and increasingly created work that made the nudes in their art unrealistic. This phenomenon was common at the Nika Exhibition. Following Cubism and Fauvism, the Nika Exhibition included drawings of nude women. The characteristics of the nude images of art in the Nika Exhibition were women reclining on a bed, posing with their arms or legs held up to exaggerate their physical features, and showing nude women indoors. The authorities initially regulated art with nude woman lying in bed drawn by Sotaro Yasui. After the 5th Nika Exhibition, they stopped controlling nudity. Painters no longer presented the female form realistically. They exaggerated. The nude images drawn from the Meiji to the Taisho periods were influenced by both the regulations and because of the regulations, the numbers of works exhibited were almost influenced. Then regulation standards gradually changed from the viewpoint of bodily exposure to the viewpoint of depicting the body in realistic situations such as a nude woman reclining in bed. Considering this history, painters had to be conscious of regulations restricting the depiction of nude women, which was historically part of the depiction of women. The important issue is that these artists tried to express their ideas even though they were conscious of the regulations.

著者

喜多崎 親

出版者

成城大学大学院文学研究科美学・美術史専攻

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.24, pp.33-53, 2018-03

著者

佐藤 仁

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.23, pp.71-78, 2017-03

著者

小倉 健太郎

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.21, pp.37-59, 2015-03

著者

喜多崎 親

出版者

成城大学大学院文学研究科美学・美術史専攻

雑誌

成城美学美術史 = Studies in aesthetics & art history (ISSN:13405861)

巻号頁・発行日

no.24, pp.33-53, 2018-03

著者

小林 晶子

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.5, pp.5-23, 1997-11

著者

清水 友美

出版者

成城大学大学院文学研究科美学・美術史研究室

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.22, pp.1-41, 2016-03

---

From the Meiji to the Taisho period, a nudity controversy surfaced several times. Hakuba-kai, which was led by Seiki Kuroda, considered the nude the basis of Western art, but the Japanese did not have sufficient knowledge of western art to understand. This lack of knowledge caused the dispute. Subsequently, authorities regulated nudity in exhibitions and publications for a long period of time. Regulation of nudity has already beenstudied, but we need to investigate the kind of nudity regulated and the regulations that influenced painters and their activities. This paper investigates the Hakuba-kai Exhibition, Ministry of Education Art Exhibition (Bunten Exhibition), and Nika Art Exhibition from the viewpoint of regulation, focusing on the transition of the depiction of the nude woman from the Meiji to the Taisho period. Before the Meiji period, women and men wore clothing that allowed them to accomplish their work. Their ideas about covering the body were not hindered by western morality-based conventions. However, by imitating western culture to enforce "Ishiki kaii jyourei, the ordinance designed to emulate foreigners'propriety," the thought planted in the Japanese mind was that nudity was obscene. Thereafter, authorities regulated publications with nude images. Kuroda's Le Lever, which was exhibited at the 4th Domestic Industrial Exposition, served as a challenge to authority and generated the nudity controversy in newspapers. Afterward, police required that Kuroda's "Nude," which was exhibited at the 6th Hakuba-kai Exhibition in 1901, be covered with a cloth below the waist. That is, this is the "koshimaki (waistcloth) incident." The incident was the outcome of the Security Police law implemented in 1900 and led the painters of Hakuba-kai to draw nude women with waist coverings. Police and the Ministry of Education continued to regulate nudes in art after the Bunten Exhibition. The Ministry of Education told painters that they must eliminate nude images from their works, and this caused a situation in which many nude drawings were disqualified from winning awards. The Minister of Education ultimately declared that police must not invade the winning work of the Bunten Exhibition in 1917. Partially clothed woman continued to be exhibited in the art at the Bunten Exhibition, and for a short time painters drew an idealized nude. They gradually began to draw frontal nudes and increasingly created work that made the nudes in their art unrealistic. This phenomenon was common at the Nika Exhibition. Following Cubism and Fauvism, the Nika Exhibition included drawings of nude women. The characteristics of the nude images of art in the Nika Exhibition were women reclining on a bed, posing with their arms or legs held up to exaggerate their physical features, and showing nude women indoors. The authorities initially regulated art with nude woman lying in bed drawn by Sotaro Yasui. After the 5th Nika Exhibition, they stopped controlling nudity. Painters no longer presented the female form realistically. They exaggerated. The nude images drawn from the Meiji to the Taisho periods were influenced by both the regulations and because of the regulations, the numbers of works exhibited were almost influenced. Then regulation standards gradually changed from the viewpoint of bodily exposure to the viewpoint of depicting the body in realistic situations such as a nude woman reclining in bed. Considering this history, painters had to be conscious of regulations restricting the depiction of nude women, which was historically part of the depiction of women. The important issue is that these artists tried to express their ideas even though they were conscious of the regulations.

著者

津上 英輔

出版者

成城大学

雑誌

成城美学美術史 = Studies in aesthetics & art history (ISSN:13405861)

巻号頁・発行日

no.17, pp.1-15, 2012-03

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R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.

著者

津上 英輔

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.19, pp.1-19, 2013-03

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ρυθμο[s] is one of the three media (εν ετεροι[s]) of poetry Aristotle names besides words and melody in the Poetics (1447a8-b29). The Italian philologist Pier Vettori in his Commentarii in primum librum Aristotelis de Arte Poetarum (1560), which contains his own Greek text, followed by its verbatim Latin translation and comprehensive running commentary on textual, grammatical and interpretative topics, identifies it with dance, instead of rhythm as it is commonly held. Vettori was led to this (mis-)conception through two factors: (i) his supposition, conforming to the then current notion, that all poetry was verse (words with metre), with the consequence that metre, present, according to his view, in every poem, belongs to words, not rhythm; and more importantly (ii) the limited knowledge scholars in the sixteenth century commanded about the sources of the Poetics, without the aid of the Arabic version, from which modern editors have substantially benefited. Since both factors were historically conditioned, the resulting misunderstanding of Vettori's was more of a historical nature than his personal.ρυθμο[s] is one of the three media (εν ετεροι[s]) of poetry Aristotle names besides words and melody in the Poetics (1447a8-b29). The Italian philologist Pier Vettori in his Commentarii in primum librum Aristotelis de Arte Poetarum (1560), which contains his own Greek text, followed by its verbatim Latin translation and comprehensive running commentary on textual, grammatical and interpretative topics, identifies it with dance, instead of rhythm as it is commonly held. Vettori was led to this (mis-)conception through two factors: (i) his supposition, conforming to the then current notion, that all poetry was verse (words with metre), with the consequence that metre, present, according to his view, in every poem, belongs to words, not rhythm; and more importantly (ii) the limited knowledge scholars in the sixteenth century commanded about the sources of the Poetics, without the aid of the Arabic version, from which modern editors have substantially benefited. Since both factors were historically conditioned, the resulting misunderstanding of Vettori's was more of a historical nature than his personal.

著者

金澤 清恵

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.17, pp.49-69, 2012-03

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Georges ROUAULT (1871-1958) was a French artist who became famous in the first half of the 20th century, such as Picasso and Matisse. He participated in Salon d'Automne, and changed his style, with a dynamic touch, arranging the original colors and dark colors in the influence of his teacher, Gustave Moreau. He continued to paint the same subjects, circus clowns, prostitutes, judges, religious scenes, and the anger and sorrow of social injustice. Indeed, such creative activity is similar to Fauvism, but Rouault is considered to be an expressionist with a spiritual mind. In Japan, he was introduced by some artists and critics in the 1920s, such as Jutaro KURODA, Katsuzo SATOMI. This introduction is later than other Impressionists and Post-Impressionists, but he was popular among many Japanese artists and connoisseurs in an instant by the collection of Shigetaro FUKUSHIMA. His collection was introduced in an article of Bijyutsu-Shinron in 1929 and exhibited in Tokyo in 1934. Parts of his collection were lost, but some works are stored at the Bridgestone Museum, the Shiodome Museum and so on. I have outlined the details of Rouault's introduction, among others reception in Japan from the 1920s to the present.Georges ROUAULT (1871-1958) was a French artist who became famous in the first half of the 20th century, such as Picasso and Matisse. He participated in Salon d'Automne, and changed his style, with a dynamic touch, arranging the original colors and dark colors in the influence of his teacher, Gustave Moreau. He continued to paint the same subjects, circus clowns, prostitutes, judges, religious scenes, and the anger and sorrow of social injustice. Indeed, such creative activity is similar to Fauvism, but Rouault is considered to be an expressionist with a spiritual mind. In Japan, he was introduced by some artists and critics in the 1920s, such as Jutaro KURODA, Katsuzo SATOMI. This introduction is later than other Impressionists and Post-Impressionists, but he was popular among many Japanese artists and connoisseurs in an instant by the collection of Shigetaro FUKUSHIMA. His collection was introduced in an article of Bijyutsu-Shinron in 1929 and exhibited in Tokyo in 1934. Parts of his collection were lost, but some works are stored at the Bridgestone Museum, the Shiodome Museum and so on. I have outlined the details of Rouault's introduction, among others reception in Japan from the 1920s to the present.

著者

坂入 和子

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.2, pp.5-32, 1994-12

著者

田中 佳佑

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.12, pp.17-36, 2006-03