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ID 44300
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On the Expression of UTAGAWA Hiroshige's Landscape Prints: Multi-layered Perspective coexisting with Multiple Perspective <Articles>
著者
中曽 政行
NDC
版画
抄録(英)
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.
掲載誌名
藝術研究
27号
開始ページ
17
終了ページ
31
出版年月日
2014-07-24
出版者
広島芸術学会
ISSN
0914-9872
NCID
言語
日本語
NII資源タイプ
学術雑誌論文
広大資料タイプ
学術雑誌論文
DCMIタイプ
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application/pdf
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権利情報
Copyright (c) 2014 by Author
部局名
総合科学研究科
教育学研究科
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