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1 0 0 0 OA 近世日本の絵画作品における朝鮮通信使の描き方 : 楽隊とその衣装に注目して

著者: 尹芝惠
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.59, no.1, pp.57-70, 2008-06-30 (Released:2017-05-22)

During the Edo period, the Korean embassy paid 12 courtesy visits to the Tokugawa shogunate. These visit brought about something new in Japanese art. First, the Korean people and their procession resulted in a new form of expression that displayed a kind of exoticism. Second, these visits led to an exchange between Japanese and Korean artists on their views regarding techniques and styles. In this paper, I illustrate the process of the change in the depiction of Korean people in Japanese art. In particular, I focus on the change in the representation of the marching band that attended the embassy. The members of the marching band wore two kinds of attires. The first was a red robe and a hat with plumes and the second, a blue robe and a cap with a red tassel. Although the uniforms of the marching band, as depicted in the works of Ukiyoe painters, were unrealistic, they are not yet become exotic. However, with the passage of time, the uniforms were reproduced in the cos-tume parades and portrayed rather exotically by the Ukiyoe painters. Such portrayal was unreal. In those days, however, the Japanese people regarded and treated the Koreans as foreigners.

2021-01-27 16:03:00
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1 0 0 0 OA 一九三九年「伯林日本古美術展覧会」と報道 : 日本美術の評価と展覧会の意図をめぐって

著者: 安松みゆき
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.59, no.1, pp.71-84, 2008-06-30 (Released:2017-05-22)

In 1939 wurde die Ausstellung altjapanischer Kunst in Berlin verangestaltet, eine der grossten Ausstellungen von der japanischen Kunst in Europa. In dieser Ausstellung gehorten 94 Werke unter die 126 ausgestellten Objekte zu den staatlichen Kunstdenkmalern von Japan. Aber die politische Situation unter der Nazi-Regierung warf Schatten auf diese Ausstellung. Trotz der seltenen Bedeutung im Kunstaustausch ist sie sowohl in Deutschland als auch in Japan fast Vergessenheit geraten. Seit 1999 untersuche ich uber diese Ausstellung und ihre Hintergrunde der Realisierung. Dieser Beitrag versucht, durch die damaligen Presseberichten, Nachlichtsfilme und sonstigen Quellen die Umstande dieser Ausstellung ausfuhrlicher zu erfassn. Man gelangt zu dem Ergebnis, dass die Materialien die bemerkenswerten Widerspruche und Unterschiede in Haltung und Absicht der Mitspieler dieser Ausstellung zeigen. Das ist: 1) Widerspruch zwischen den japanischen und deutschen Presseberichten uber die Hitlers Interesse an der japanischen Kunst; 2) Die Schatzung der japanischen Kunst und nicht eindeutige Haltung der deutschen Presseberichten zur "Entaltete Kunst", die sie fur die Schatzung der japanischen Kunst herangezogen haben; 3) Schatzung von Ukiyoe und Malerei bzw. Skulptur von den japanischen und deutschen Kunsthistoriker und Politiker.

2021-01-27 16:03:00
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1 0 0 0 OA エル・グレコ《聖イルデフォンソ》(イリェスカス、カリダー施療院)をめぐって : ペドロ・サラサール・デ・メンドーサとの関係を中心に

著者: 門田彩
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.59, no.1, pp.85-98, 2008-06-30 (Released:2017-05-22)

In this paper, I investigate El Greco's St. Ildefonso, currently placed at the Chapel of the Hospital of Charity in Illescas. This was painted in his most prolific stage, around 1600. Until recently the details of the commission issued to El Greco have not been obvious. Here, I present a tentative plan concerning the ditails of the commission of St Ildefonso, examining the relationship between El Greco and Salazar de Mendoza, a patron of El Greco. First, I focus on how St. Ildefonso is depicted as a Church Father, or author/scholar figure, which differs from the general representation of St. Ildefonso which portrays him receiving the chasuble, or dressed as an archbishop. I demonstrate how that El Greco's Ildefonso resembles the figure of St. Jerome in his study and I examine the description on St. Jerome and St. Ildefonso in Mendoza's work El Glorioso San Ildefonso…(1618), thus adding evidence for the likelihood of an influence from Mendoza. Moreover, I suggest a close connection between Charity and Mendoza. This is evident from the fact that El Greco and Charity both signed a contract for the retable at the Hospital Tavera, of which Mendoza was administrator. The goal of this paper is to present the details of the commission of St. Ildefonso, considering the intervention of Mendoza, an Toledan.

2021-01-27 16:03:00
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1 0 0 0 OA ベラスケス作《クリストーバル・スアーレス・デ・リベーラの肖像》 : その開口部表現と身振りの果す機能

著者: 諸星妙
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.59, no.1, pp.99-112, 2008-06-30 (Released:2017-05-22)

This paper examines the opening and the function of the gesture of Cristobal Suarez de Ribera in his portrait by Velazquez. The portrait was painted in 1620, that is two years after the subject's death, and was placed above the tomb of Cristobal Suarez in the Chapel of San Hermenegildo in Seville, which he had founded from 1606 to 1616. As was the custom for funerary sculptures, he is shown kneeling in the attitude of a prayer. However he is pointing towards the main altar which contains a polychrome statue of San Hermenegildo by Martinez Montanes. This gesture is exceptional for a funerary portraiture, which leads us to consider that the portrait performs a specific function in the Chapel. In this point, showing how the portrait was hung in the Chapel in the 17th century, I point out that Suarez in this portrait plays a role similar to the intercession. According to the documents, Suarez was known as a leading figure in the veneration of San Hermenegildo at that time, which makes us consider that Velazquez painted the portrait in a peculiar manner so that Suarez could seem to be playing a role of mediator between the members of the Confraternity of San Hermenegildo and the statue of the saint in the main altar.