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The succession and development of the 'shape' itself is often raised as one of the ways of succeeding the cultural inheritance among characteristics that Japanese visual culture has. This trend primarily occurs in the traditional artistic accomplishments but the fine art is not the exception. Looking at the art history of the Edo Period, there were allotted roles of the artists: artists creating a new shape; artists succeeding them; and artists breaking the conventional shape and creating a new mode. The Japanese art history has repeated the process of reproduction of shapes. The works of Maruyama Oukyo, who is the father of the Maruyama Sijyo School, which played a key role in the Tokyo Artists Club in the 18th Century and his followers, Nagasawa Losets and Soga Shohaku show the tendency well.
Oukyo tried to realize objects from a viewpoint of realistic rationalism, while Losets and Shohaku originally expressed objects by extremely transforming or exaggerating them. From the tendencies of their works, we can guess that two peculiar styles of painting coexisted in the Tokyo Artists Club.
This paper will study the way of succeeding the Japanese visual culture by looking at the painting of a ghost, a kind of the painting of a beauty. We will have a look at the paintings reflecting original idea and exaggeration of Losets and Shohaku as well as realistic paintings of Maruyama Oukyo.
It is reported that Shohaku said, "If you want a true painting, you will find it only within me, but you will be satisfied with Maruyama Oukyo as well when you want just a picture." His statement points out that Oukyo s paintings have no meanings and just sentimental, and it is worth listening to on the one hand. Perhaps he said so as he envied the reputation of Oukyo, who was a representative artist of the Tokyo Artists Club with Shohaku on the other hand.
At that time, there were other artists including Yo sa Buson, Ito Jakuchu and Ikeno Taiga besides Oukyo, Losets and Shohaku and they produced a lot of creative paintings. Largely dividing them into two groups centering around their works, one is a realistic painting group like Oukyo and the other is a group of expressionism in the late modem times including Shohaku. The latter mostly criticized the paintings of the former. The above statement of Shohaku means that he didn't regard Oukyo's paintings as art. Such thought of his is not new but it was handed down from the Song Dynasty in China. They didn't think that the paintings realistically drawn were works of art, and they thought such paintings were from just skill.
The painting of a ghost equally contains characteristics of the two groups though there are some differences according to works. The painting of a ghost of the Tokyo Artists Club is realistic and also shows the change of aesthetic consciousness in the Edo Period. In addition, it tells us the characteristic of the paintings of the Edo Period that depict woman in various ways. Looking at the painting of a ghost, we had a chance again to study the variety of the painting of a beauty in Japan.
Oukyo tried to realize objects from a viewpoint of realistic rationalism, while Losets and Shohaku originally expressed objects by extremely transforming or exaggerating them. From the tendencies of their works, we can guess that two peculiar styles of painting coexisted in the Tokyo Artists Club.
This paper will study the way of succeeding the Japanese visual culture by looking at the painting of a ghost, a kind of the painting of a beauty. We will have a look at the paintings reflecting original idea and exaggeration of Losets and Shohaku as well as realistic paintings of Maruyama Oukyo.
It is reported that Shohaku said, "If you want a true painting, you will find it only within me, but you will be satisfied with Maruyama Oukyo as well when you want just a picture." His statement points out that Oukyo s paintings have no meanings and just sentimental, and it is worth listening to on the one hand. Perhaps he said so as he envied the reputation of Oukyo, who was a representative artist of the Tokyo Artists Club with Shohaku on the other hand.
At that time, there were other artists including Yo sa Buson, Ito Jakuchu and Ikeno Taiga besides Oukyo, Losets and Shohaku and they produced a lot of creative paintings. Largely dividing them into two groups centering around their works, one is a realistic painting group like Oukyo and the other is a group of expressionism in the late modem times including Shohaku. The latter mostly criticized the paintings of the former. The above statement of Shohaku means that he didn't regard Oukyo's paintings as art. Such thought of his is not new but it was handed down from the Song Dynasty in China. They didn't think that the paintings realistically drawn were works of art, and they thought such paintings were from just skill.
The painting of a ghost equally contains characteristics of the two groups though there are some differences according to works. The painting of a ghost of the Tokyo Artists Club is realistic and also shows the change of aesthetic consciousness in the Edo Period. In addition, it tells us the characteristic of the paintings of the Edo Period that depict woman in various ways. Looking at the painting of a ghost, we had a chance again to study the variety of the painting of a beauty in Japan.
목차
1. 들어가며
2. 마류야마 오쿄(1733-1795)의 유령화에 대하여
3. 기상(寄想) 화가였던 로세쓰의 유령화
4. 소가 소하쿠의 〈미인도〉와 〈버드나무 아래 귀녀도〉에 대해서
5. 맺는 말
【?考文?】
要旨
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