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AN00150430-00000143-0141  
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Title
Title エリザベス・キースの美術史的位置づけに関する再検討 : 大正期新版画運動周辺における諸外国人作家の創作活動に照らして  
Kana エリザベス・キース ノ ビジュツシテキ イチズケ ニ カンスル サイケントウ : タイショウキ シンハンガ ウンドウ シュウヘン ニ オケル ショガイコクジン サッカ ノ ソウサク カツドウ ニ テラシテ  
Romanization Erizabesu Kīsu no bijutsushiteki ichizuke ni kansuru saikentō : Taishōki Shinhanga undō shūhen ni okeru shogaikokujin sakka no sōsaku katsudō ni terashite  
Other Title
Title Repositioning Elizabeth Keith in the context of art history : with a consideration of woodblock-prints production by Western artists around Shin-hanga movement in 20th-century Japan  
Kana  
Romanization  
Creator
Name 永谷, 侑子  
Kana ナガタニ, ユウコ  
Romanization Nagatani, Yuko  
Affiliation 慶應義塾大学大学院文学研究科美学美術史学専攻後期博士課程  
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Place
東京  
Publisher
Name 三田哲學會  
Kana ミタ テツガクカイ  
Romanization Mita tetsugakukai  
Date
Issued (from:yyyy) 2019  
Issued (to:yyyy)  
Created (yyyy-mm-dd)  
Updated (yyyy-mm-dd)  
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Physical description
 
Source Title
Name 哲學  
Name (Translated) Philosophy  
Volume  
Issue 143  
Year 2019  
Month 3  
Start page 141  
End page 178  
ISSN
05632099  
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Abstract
This paper attempts to discover a Scottish female artist Elizabeth Keith (1887–1956) in the context of Shin-hanga (New prints) which started in Tokyo in around 1915. Given the fact that New prints aimed at a revitalisation of the distinctive Japanese multicoloured woodblock prints rooted in Ukiyo-e of Edo period by following its traditional making process, what especially requires careful consideration is the role played by several Western artists in this movement rather than those of Japanese. Keith should thus be focused on as a milestone to shed light on some crucial aspects of the activities carried out by Western artists who energetically engaged in the production of woodblock prints in Japan around her time. Through not only close examination of the original prints in museum collections but also careful scrutiny of valuable related literary materials, frequent use of remarkable blue colours by Keith along with her keen senses, as well as her special sympathetic gaze casted upon various kinds of things she encountered in the East are revealed. Moreover, by making an analytical comparison between several specific works produced by Keith and those by other artists, it is also demonstrated that Keith's style should completely be distinguished from the orientalised representation that can be regarded as a stereotype shared among her contemporaries. The conclusion therefore highlights the significance of Keith as a transcultural artist, who challenged a complexed art scene in-between East and West through a medium of woodblock prints in the first half of the twentieth century in Japan.
 
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Note
投稿論文
 
Language
日本語  

英語  
Type of resource
text  
Genre
Journal Article  
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Last modified date
Jul 17, 2019 15:23:55  
Creation date
Jul 17, 2019 15:04:18  
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Index
/ Public / 文学部 / [哲学] 哲学 / 143 (201903)
 
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