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陶彫家沼田一雅考-その美術史上の位置付けと「陶彫」の用語をめぐる問題を中心に-
https://sojo-u.repo.nii.ac.jp/records/931
https://sojo-u.repo.nii.ac.jp/records/9311e8660e0-ff6c-4ff6-8f1e-15f51ecf1f73
名前 / ファイル | ライセンス | アクション |
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陶彫家沼田一雅考―その美術史上の位置付けと「陶彫」の用語をめぐる問題を中心に― (6.4 MB)
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Item type | 紀要論文 / Departmental Bulletin Paper _reDeposit_v1(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2015-04-13 | |||||
タイトル | ||||||
タイトル | 陶彫家沼田一雅考-その美術史上の位置付けと「陶彫」の用語をめぐる問題を中心に- | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | A Study of Ceramic Sculptor Ichiga Numata― Problems about his Position in Japanese Art History and the Term of “Ceramic Sculpture” ― | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 沼田一雅 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 陶彫 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | セーヴル製陶所 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 陶磁器試験所 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 帝展 | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Ichiga Numata | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Ceramic Sculpture | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Sevres Ceramics Plant | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Ceramic Experiment Station | |||||
キーワード | ||||||
言語 | en | |||||
主題Scheme | Other | |||||
主題 | Imperial Academy’s Art Exhibitio | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | departmental bulletin paper | |||||
内容記述 | ||||||
内容記述タイプ | Other | |||||
内容記述 | At present, the figurative art with earthenware is called “Tocho(Ceramic Sculpture)”, artists of “Tocho” are called “Tocho-ka”, and the “Tocho” exhibition is called “Tocho-ten” in Japan. However, it has not yet been closely discussed about the first user of those terms, or the time when those terms came to be generally used and applied to the definition of “Tocho”. Ichiga Numata (1873-1954) is placed with “father of the Tocho” or “the originator of the Tocho” as the person credited with the spread of the “Tocho” in Japan. However, other artists who used earthenware as material of sculpture are Shinichi Terauchi (1863-1945) and Yozo Naito (1860-1889) because they made a“Tocho” in 1884. In addition, Numata deliberately made “Tocho” in 1900.In this paper, I attempt to clarify what kind of artist Numata was, what kind of works were made in particular of circumstances to provide reasons why Numata is considered to be “the originator of the Tocho”, and not Terauchi. Moreover, I clarify who named Numata as “the originator of the Tocho” by arranging evaluations and positionings of Numata by critics, researchers, and other artists. Finally, I try to provide a definition of “Tocho”. | |||||
作成者 |
西村, 佳菜子
× 西村, 佳菜子 |
|||||
書誌情報 |
崇城大学芸術学部研究紀要 号 8, p. 3-30, 発行日 2015 |
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国立情報学研究所 メタデータ主題語彙集 | ||||||
主題Scheme | Other | |||||
主題 | Departmental Bulletin Paper |