{"created":"2021-03-01T07:26:27.636682+00:00","id":46538,"links":{},"metadata":{"_buckets":{"deposit":"d956c577-d583-4cef-8de4-26649ead5467"},"_deposit":{"created_by":188,"id":"46538","owners":[188],"pid":{"revision_id":0,"type":"depid","value":"46538"},"status":"published"},"_oai":{"id":"oai:tsukuba.repo.nii.ac.jp:00046538","sets":["3:2622:6601:6602"]},"author_link":["190604"],"item_4_biblio_info_6":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2017-12","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"30","bibliographicPageStart":"21","bibliographicVolumeNumber":"22","bibliographic_titles":[{"bibliographic_title":"芸術学研究","bibliographic_titleLang":"ja"},{"bibliographic_title":"Tsukuba studies in art and design","bibliographic_titleLang":"en"}]}]},"item_4_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"絵画で動物を表現する場合、動物に感じる魅力は画家 それぞれであるが、筆者は、動物特有の「動き」が、絵画上に描かれる動物の生命感を強調する上で欠かす事ができない要素であると考える。本稿では、絵画で表現される「動物の動き」の表出に用いた方法の一端を見出すことを目的とし、福田豊四郎の表現に着目した。豊四郎の作品《樹氷》には、鹿が描かれており、この鹿の「動き」を表わす言葉について書かれた先行研究があった。この先行研究を基に豊四郎の作品について調べてみると、《樹氷》を含めて「鹿」が描かれた作品が1937年から1964年の間に5点存在した。それらの表現に変化が見られるため、筆者は、この「鹿」を主題とした作品を中心に、豊四郎の「動き」に対する意識の変化や、絵画で「動物の動き」を表現する手法を先行研究と実見調査により考察した。豊四郎の絵画における「動き」の表出の方法は、1937年《樹氷》では構図によるものだった。しかし、1956年に敦煌を訪れ、敦煌の壁画を描いた1959年《敦煌》や、その直後の1959年《金華山》に見られたのは、それまでになかった「線」による「動き」の表現だった。それ以降の1960年《流れと鹿》、1964年《野火・けもの》では、線に使われる色彩の豊かさや、筆致の強弱、削るといった技法の追求により、線の種類が増えている。筆者は、この豊四郎の「線」への追求が、鹿に躍動感を与え、豊四郎が「動き」を表出するために見出した一つの方法であったと考える。以上のことから、豊四郎が敦煌の壁画を見たことは、豊四郎の「線」に対する、日本画ひいては東洋の独自性を再確認した重要な契機になったことが明らかになった。筆者は、豊四郎が「動き」という概念的な要素を決定的にする手法として、「線」を効果的に用いていったと結論付けた。","subitem_description_language":"ja","subitem_description_type":"Other"},{"subitem_description":"I consider that \"movement\" of living animals is an indispensable factor to emphasize senses of vitality at expression of the portraying of living animals, regardless of how painters are attracted by animals. On this article, I aim on finding some of method to express \"movement of living animals\" in paintings, and take particular note of expression by Toyoshiro Fukuda. Toyoshiro's creation \"Juhyo\" has deer in it. There was preceding study on the wording to express the \"movement\" of these deer. Based upon this preceding study, I made research on Toyoshiro's creations, and found 5 creations showing deer including \"Juhyo\" among the period between 1937 and 1964. Since I found some variation in his expression, I made study on shift of Toyoshiro's consciousness on \"movement\" and method to express \"movement of living animals, based upon preceding studies and viewing researches, focusing into his creations on \"deer\". Method of Toyoshiro's expression of \"movement\" was by its compositionin \"Juhyo\" in 1937. However, his mural of Dunhuang as \"Tonkou\" in 1959 after visiting there in 1956, and \"Kinkazan\" right after it had \"movement\" by \"lines\", which you could not find beforehand. In his creation of \"NagaretoShika\" in 1960 and \"Nobi – Kemono\" in 1964, you can find more types of lines by affluence in colors and by odyssey of method like strength of touch, scraping. I consider Toyoshiro's odyssey of \"line\" gave dynamism on deer, and I found it was the method he found in order to express \"movement\". From described above, it turned to be clear that seeing the mural of Dunhuang was his significant moment of reaffirming of identity of \"line\" in not only Japanese but also oriental painting. I draw my conclusion that Toyoshiro utilized \"line\" effectively as the method to decisively express \"movement\" as ideate element.","subitem_description_language":"en","subitem_description_type":"Other"}]},"item_4_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.15068/00151839","subitem_identifier_reg_type":"JaLC"}]},"item_4_publisher_27":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"筑波大学大学院人間総合科学研究科","subitem_publisher_language":"ja"},{"subitem_publisher":"Graduate School of Comprehensive Human Sciences, University of Tsukuba","subitem_publisher_language":"en"}]},"item_4_source_id_9":{"attribute_name":"書誌レコードID","attribute_value_mlt":[{"subitem_source_identifier":"AA1139057X","subitem_source_identifier_type":"NCID"}]},"item_access_right":{"attribute_name":"アクセス権","attribute_value_mlt":[{"subitem_access_right":"open access","subitem_access_right_uri":"http://purl.org/coar/access_right/c_abf2"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"澤田, 麻実","creatorNameLang":"ja"},{"creatorName":"SAWADA, Mami","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2018-05-30"}],"displaytype":"detail","filename":"TSAD_22-3.pdf","filesize":[{"value":"2.3 MB"}],"format":"application/pdf","mimetype":"application/pdf","url":{"objectType":"fulltext","url":"https://tsukuba.repo.nii.ac.jp/record/46538/files/TSAD_22-3.pdf"},"version_id":"29c1626b-73af-4490-b70b-7903fe3fd354"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"<論文> 福田豊四郎の作品にみる動物の動きの表現について","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"<論文> 福田豊四郎の作品にみる動物の動きの表現について","subitem_title_language":"ja"},{"subitem_title":"<Research Paper> Expression of Movement of Animals in Works by Fukuda Toyoshiro","subitem_title_language":"en"}]},"item_type_id":"4","owner":"188","path":["6602"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2018-05-30"},"publish_date":"2018-05-30","publish_status":"0","recid":"46538","relation_version_is_last":true,"title":["<論文> 福田豊四郎の作品にみる動物の動きの表現について"],"weko_creator_id":"188","weko_shared_id":-1},"updated":"2024-03-19T08:14:49.209886+00:00"}