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Title: 高橋由一<山形市街図>と江戸名所絵
Other Titles: Takahashi Yuichi's View of Yamagata City and the famous views of Yedo
Authors: 高階, 絵里加  kyouindb  KAKEN_id  orcid https://orcid.org/0009-0009-8182-4530 (unconfirmed)
Author's alias: Takashina, Erika
Keywords: 近代洋画
写実的風景
江戸名所絵
絵画と写真
遠近法
Issue Date: Mar-2011
Publisher: 京都大學人文科學研究所
Journal title: 人文學報
Volume: 101
Start page: 19
End page: 35
Abstract: 明治期の洋画家である高橋由一の油彩作品にっいては, 近年, その革新性のみならず, 江戸美術とのつながりにみられるような伝統的側面も研究されてきている。由一の風景画のなかでも, 明治14-5年ごろの制作とされる《山形市街図》は, 同構図の写真との影響関係から, 従来, 伝統的風景表現を脱した写実的絵画とみなされてきた。本小論では, この《山形市街図》が, 写真にもとづきながらも, 遠近法の消失点に中心モティーフを置く独特の手法において, 江戸名所絵の伝統を踏襲していることを指摘する。また, 群童にはない空の表現や点景人物の加筆などの点においても, 広重のような江戸の浮世絵風景版画の描き方とのっながりが見られることを考察する。
In recent years, it has been pointed out by several scholars that the oil paintings by Takahashi Yuichi, one of the predecessors of Western-style painting in the Meiji era of Japan, have several traditional aspects as well as a visual radicality. Among his landscape paintings, the View of Yamagata City was probably painted after the photograph of the same composition and has been considered as a realistic painting devoid of any traditional elements. Despite its close relationship to the photograph, this paper reconsiders the View of Yamagata City as a landscape painted within the tradition of the Famous Views of Yedo, showing the same style which set the major motif on the vanishing point of perspective. Moreover, the expression of the sunset sky and the existence of small-scale people, which do not appear in the photograph are also reminiscent of landscape prints by Ukiyo-e painters such as Hiroshige.
Rights: 許諾条件により非表示の部分があります.
DOI: 10.14989/156384
URI: http://hdl.handle.net/2433/156384
Appears in Collections:第101号 <創立80周年記念論集>

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