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Primitivisme in Japanese Modern Art: In the Case of Taro Okamoto
https://doi.org/10.18956/00006113
https://doi.org/10.18956/00006113dff380d6-5d8f-4446-bc43-287d620250e9
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
r095_10.pdf (674.0 kB)
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| Item type | 本学紀要論文 / Departmental Bulletin Paper(1) | |||||||||||
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| 公開日 | 2016-09-05 | |||||||||||
| タイトル | ||||||||||||
| タイトル | Primitivisme in Japanese Modern Art: In the Case of Taro Okamoto | |||||||||||
| 言語 | en | |||||||||||
| 言語 | ||||||||||||
| 言語 | eng | |||||||||||
| 作成者 |
大久保, 恭子
× 大久保, 恭子
WEKO
14977
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| 作成者所属(日) | ||||||||||||
| 言語 | ja | |||||||||||
| 値 | 関西外国語大学 | |||||||||||
| 作成者所属(英) | ||||||||||||
| 言語 | en | |||||||||||
| 値 | Kansai Gaidai University | |||||||||||
| 記事種別 | ||||||||||||
| 内容記述タイプ | Other | |||||||||||
| 内容記述 | 論文 | |||||||||||
| 言語 | ja | |||||||||||
| 記事種別 | ||||||||||||
| 内容記述タイプ | Other | |||||||||||
| 内容記述 | ARTICLE | |||||||||||
| 言語 | en | |||||||||||
| 抄録 | ||||||||||||
| 内容記述タイプ | Abstract | |||||||||||
| 内容記述 | Taro Okamoto received his elementary art education in Paris from 1930 to 1940. After returning to Japan, he became a leader of contemporary art in Japan. Okamoto should be regarded as avant-garde because he reconstructed old-fashioned Japanese artistic circles with his innovative ideas. However, his thoughts were ambivalent rather than progressive. This is exemplified by his discovery of the beauty of Jomon wares. Until Okamoto noted the esthetic value, they were considered archeological samples, not art. His discovery was an epoch-making event. The root of Okamoto's original sense of beauty lied in Primitivisme. While he was in Paris in the 1930s, Primitivisme, the Western reflection on the Other, was the influential thinking of the day. Extraordinary as a Japanese student, Okamoto did not solely devote himself to painting but also studied anthropology under Mauss and assimilated the Primitivisme. When Okamoto cut his way in the ruins of Japanese artistic circles with his novel ideas, his rhetoric was that of Primitivisme. He wished to reset and regenerate Japanese art. For this purpose, he grafted Primitivisme onto Japanese modern art. At the beginning of the century, Western avant-garde co-opted Black African art within the Western beauty to reactivate European tradition because Black Africa was thought to be the start of human evolution. Similarly, Okamoto recognized Jomon wares as the starting point of Japanese art history for regenerating Japanese tradition. | |||||||||||
| 言語 | en | |||||||||||
| キーワード | ||||||||||||
| 言語 | en | |||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | Taro Okamoto | |||||||||||
| キーワード | ||||||||||||
| 言語 | en | |||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | Primitivisme | |||||||||||
| キーワード | ||||||||||||
| 言語 | en | |||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | Japanese Modern Art | |||||||||||
| 書誌情報 |
ja : 研究論集 en : Journal of Inquiry and Research 巻 95, p. 149-164, 発行日 2012-03 |
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| 出版者 | ||||||||||||
| 出版者 | 関西外国語大学・関西外国語大学短期大学部 | |||||||||||
| 言語 | ja | |||||||||||
| 出版者 | ||||||||||||
| 出版者 | Kansai Gaidai University | |||||||||||
| 言語 | en | |||||||||||
| ISSN | ||||||||||||
| 収録物識別子タイプ | PISSN | |||||||||||
| 収録物識別子 | 0388-1067 | |||||||||||
| NCID | ||||||||||||
| 収録物識別子タイプ | NCID | |||||||||||
| 収録物識別子 | AN00046756 | |||||||||||
| 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 | |||||||||||
| アクセス権 | ||||||||||||
| アクセス権 | open access | |||||||||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||||
| 論文のバージョン | ||||||||||||
| 出版タイプ | VoR | |||||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||||
| ID登録 | ||||||||||||
| ID登録 | 10.18956/00006113 | |||||||||||
| ID登録タイプ | JaLC | |||||||||||
| 表示順 | ||||||||||||
| 値 | 10 | |||||||||||
