歌川広重の風景表現について : 複数の透視図が共存する重層的透視図法 <査読論文>

On the Expression of UTAGAWA Hiroshige's Landscape Prints: Multi-layered Perspective coexisting with Multiple Perspective <Articles>

Nakaso Masayuki

藝術研究

Annual Review of Hiroshima Society for Science of Arts

[ISSN] 09149872

[NCID] AN10217323

The perspective drawing method came down and was acculturated in the Edo Period. The Japanese composition counterpointed enlarged near distance and penetrated background. This composition stretched definitions according to some scholars and it has been argued that many examples were found in the vertical landscape Ukiyo-e prints from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei). But the examples of this composition were not always the same. In this paper the series One Hundred Famous Views of Edo (Meisho Edo hyakkei) is observed and analyzed by echocardiography. In the case of Ukiyo-e prints, when viewed directly, viewpoint cannot be discerned. However, when viewed from the side, viewpoint can be discerned. The height of the object is quantitatively evaluated. Consequently, a distinguishing expression of UTAGAWA Hiroshige's landscape prints is proposed. The expression is a multi-layered perspective with a multiple perspective. The 16 prints in the series One Hundred Famous Views of Edo (Meisho Edo hyakkei) are produced in this manner of composition. In addition other HIROSHIGE prints and the landscape Ukiyo-e prints of other artists are examined. This characteristic style of composition was started by HIROSHIGE around 1840. HIROSHIGE would stretch either side and give depth direction by this manner of composition. Moreover. he would share his impression of a famous view and inaccessible unreality to the audience for his art.

Engraving [ 730 ]

jpn

広島芸術学会

Copyright (c) 2014 by Author

[ISSN] 0914-9872

[NCID] AN10217323