1,721,296 research outputs found
172. Aoki Shigeru (1882-1911)
No full textIwao Seiichi, Sakamato Tarō, Hōgetsu Keigo, Yoshikawa Itsuji, Kobayashi Tadashi, Bonmarchand Georges, Kanazawa Shizue. 172. Aoki Shigeru (1882-1911). In: Dictionnaire historique du Japon, volume 1, 1963. Lettre A. pp. 50-51
Research Note: Aoki Shigeru and Kishida Ryusei
Full text linkThree years ago I visited the towns of Kurume in Fukuoka prefecture, and Saga city, Ogi and Karatsu in Saga prefecture in order to trace the footsteps of Aoki Shigeru (1882-1911). Visiting the places that the painter is said to have lived, I was able to see and understand how the nature and townscapes in each of these places differed. In the course of my travels I learned a great deal from not only art museum curators, but also from many ordinary citizens. One example of such events involved my encounter with Aoki's work, Portrait of Takatori Koreyoshi. Takatori was an industrialist in Saga prefecture who operated the Kishima coalmines from the Meiji period onward. He was also well known as an educated man. The portrait had not been on public view since the 1972 Aoki Shigeru retrospective exhibition. In January 2003 I was able to confirm that the portrait had been carefully preserved by a Takatori descendant in Tokyo. The descendant sought to loan the work to an institution that would be able to publicly display the portrait. Taku City Museum, in Takatori's hometown of Taku, agreed to the loan and the work was loaned upon the stipulation that the Taku city carry out the necessary conservation work on the portrait. The work was shipped to the museum in March 2004, and is now held in that museum. Then, a story of later events, it seems that the portrait owner's father had been a photographer who operated a photography studio in the Ginza district of Tokyo. He took photographic portraits of famous painters and novelists of the day, and amongst these works we found a previously unknown portrait photographs of Kishida Ryūsei. The end of this article discusses in chronological order these episodes from those of Aoki Shigeru through Kishida Ryūsei, and thus forms an example of the actual path taken in the process of researching an art historical subject.journal articl
Exhibition Review: Aoki Shigeru and Romanticism in Modern Japanese Art
Full text linkAfter a hiatus of almost two decades, an Aoki Shigeru retrospective exhibition was recently held in Tokyo. However, a visit to the galleries surprised, and indeed puzzled, the visitor with the fact that it was not simply a one-man show. The exhibition was an Aoki Shigeru retrospective, but at the same time, it was a reconsideration of modern Japanese art from a unique perspective. This concept is clearly expressed in the catalogue essay, “The ‘Emotion' in Modern Japanese Art,” written by the exhibition planner Ichikawa Masanori. He writes, “We do not know the feelings of joy and anger or humour and pathos. However, what about the emotion itself, the emotion that has not determined its subject? Have we not forgotten about
this or cut it off somewhere?” Based on the expression of “feelings” discerned by Aoki, Ichikawa indicates that these inchoate feelings have been forgotten in the process of modernization, and emphasizes that it is this very “network” of indeterminate feelings which resonate with the works of other artists. Ichikawa has divided these elemental human “emotions” which flow through the “vein network” of Japanese modern art into six chapters for his exhibition. This is not an approach based on the history of artistic groups, or a history of style, but rather a new approach that experiments with an interpretation of Aoki and the arts of modern Japan to create a stimulating exhibition.journal articl
The Plan. Speciale Giappone
No full text9 progetti di architettura contemporanea giapponese. Progetti di Fumihiko Maki, Toyo Ito, Tadao Ando, Ken Yokogawa, Kengo Kuma, Kazuyo Sejima, Jun Aoki, Shigeru Ban, Shuhei End
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
青木繁の『せゝらき集』挿絵について
Full text linkSeseraki-shu written by Takashima Uro (1878-1954) a poet and a monk,was published by Bunendou in 1902 (Meiji 35), followed by an enlarged and revised published by the Fukunaga-shoten in 1927 (Showa2). Four illustrations drawn by Aoki Shigeru (1882-1911) were included in the enlarged and revised edition. Since the publication came 16 years later Aoki's death, it is presumed that those illustrations were chosen and placed later by Takashima, rathar than drawn for the enlarged and revised edition by Aoki, reflecting strong throughts for Aoki on the part of Takashima. In this report, through "Seseraki-shu" which have received little mention, I can reaffirm the relations between Shigeru Aoki and Takashima Uro again and investigate the drawn background, the characteristics of touch of the brush, and the color investigate four illustrations and I would to examine the role of the four illustrations of Aoki Shigeru in "Seseraki-shu".departmental bulletin pape
[研究ノート] 青木繁の評価をめぐって
Full text linkAoki Shigeru (1882–1911) is one of the representative painters in the history of modern Japanese art, and his career has been the subject of lively debate since the first major study by Kawakita Michiaki in 1943. Even so, after 2000, publications of studies on his work gradually diminished, and in recent years research seems to be at a standstill. This paper reviews that literature, and reaffirms the depth of Aoki's relationship with foreign art, particularly that of fin de siècle Europe. The author then discusses the characteristic features of Aoki's work that have emerged from this examination of previous research on the painter and attempts a reevaluation of his art. As a result, it will be revealed that future research should accurately position the Meiji-era Western-style painter Aoki Shigeru within the context of modern Japanese art history, while at the same time treating him, from a cultural interaction studies perspective, as part of a global fin de siècle movement.departmental bulletin pape
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