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2024/03/28 (Thu) 17:40:01

日本美術院創立100周年記念特別展
近代日本美術の軌跡

はじめに

院展の芸術、その戦前までの軌跡　　吉田亮

第一章 日本美術院創立前後

1.The Japan Art Institute - Before and After Its Founding

　The origins of the artistic movement held as the idear of the Japan Art Institute can be traced back ti the Kangakai(Society for the Appreciation of Paintings) organized by Fenollosa, Kano Hogai, and Okakura Tenshin as a study group of pre-Meiji Japanese art. This artistic movement was also directly tied to the theories put into practice at the Tokyo School of Fine Arts and Japan Painting Association.
enollosa set up the Kano-ha School of painting. Teh artist Kano Hogai was active in realizing these Kangakai theories, but he dired before the Tokyo School of Fine Arts was opened. With Okakura Tenshin as principal and Hashimoto Goho playing a central role, the Tokyo School of Fine Arts' “Bijitsu Gakko”School produced from among its pupils the aotstanding talents of Yokoyama taikan,Shimomura Kanzan,and Hishida Sunso. These artists were gaining recognition through their many cotributions to the exhibitions of the Japan Painting Association when, in 1898, an incident occurred involvaing an anonymous document that slandered Tanshin and resulted in his resignation from the School of Fine Arts, along with 17 others. This incident was an opportunity for Tenshin's students to come together and establish the Japan Art Institute in Yanaka, Tokyo.
　The Japan Art Institute began its activties as agroup outside of the art establishment, jointly sponsoring the Kyoshinkai exhibition with the Japan Painting Association, holding the ground-breaking Zenkoku Junkaiten("Nationwide Traveling Exhibition"), as well as initiating discussions and study groups.
　From the early 1900's, Taikan and Shunso were the central figures in attempts to develop a “no line” painting technique, which was half-scornfully called the “vaguenees”style. The institute's finaces, however were in disarray, causing a morale problem for which various solutions were attempted, among them being exhibitions by Taikan and Shunso in America.

1　狩野芳崖(かのうほうがい)
伏龍羅漢(ふくりゅうらかん)
　明治十八年(1885)
　第一回鑑画会大会
　紙本着色
　150.1 x 89.9 cm.
　福井県立美術館

Luohan Petting a Dragon.
By Kano Hogai.

Meiji Period, dated 1885.
Hanging scroll. Clour on paper.
150.1 x 89.9 cm.
Fukui Fine Arts Museum.

https://lp.p.pia.jp/shared/photoGallery-s/cnt-s-photo_a_4cc8685e-dfeb-468f-86af-321e7838fe8c.html?p=6

2　狩野芳崖(かのうほうがい)
仁王捉鬼(におうそっき)
　明治十九年(1886)
　第二回鑑画会大会
　紙本着色
　123.6 x 63.4 cm.
東京国立近代美術館

Nio(Buddist guardian) Seizing an Evil Spirit.
By Kano Hogai.

Meiji Period, dated 1886.
Hanging scroll, Colour on paper.
123.69 x 63.4 cm.

https://lp.p.pia.jp/shared/photoGallery-s/cnt-s-photo_a_4cc8685e-dfeb-468f-86af-321e7838fe8c.html?p=4

3　狩野芳崖(かのうほうがい)
岩石(がんせき)
　明治二十年(1887)
　絹本墨画
　136.0 x 85.0 cm.
東京芸術大学芸術資料館

Rocks.
By Kano Hogai.

Meiji Period, dated 1887.
Hanging screoll, Ink on silk.
136.0 x 85.0 cm.
University Museum, Tokyo National UNiversity of Fine Arts and Music.

https://www.flickr.com/photos/22081105@N03/2709902861

4　狩野芳崖(かのうほうがい)
悲母観音(ひぼかんのん)
　明治二十一年(1888)
　絹本着色
　195.8 x 86.1 cm.
　東京芸術大学芸術資料館

Avalokitesvara as a Merciful Mother
My Kano Hogai.
Meiji Period, dated 1888.
University Museum, Tokyo National UNiversity of Fine Arts and Music.

https://lp.p.pia.jp/shared/photoGallery-s/cnt-s-photo_a_4cc8685e-dfeb-468f-86af-321e7838fe8c.html?p=1

5　橋本雅邦(はしもとがほう)
月夜山水(げつやさんすい)
　明治二十年頃(1887頃)
　紙本着色
　82.4 x 136.8 cm.
東京芸術大学芸術資料館

Landscape in the Moonlight
By Hashimoto Gaho.

Meiji Period, ca. 1887.
Hanging scrll, Color on paper.
82.4 x 136.8 cm.
University Museum, Tokyo National UNiversity of Fine Arts and Music.


https://bunka.nii.ac.jp/db/heritages/detail/228596

6　重要文化財
橋本雅邦(はしもとがほう)
白雲紅樹（はくうんこうじゅ）
　明治二十三年(1890)
　第三回内国勧業博覧会
　紙本着色
　265.8 x 159.3 cm.
　東京芸術大学芸術資料館
Important Cultural Property.
White Clouds and Autumn Leaves.
By Hashimoto Gaho.

Meiji Period, dated 1890.
Hanging scroll, Color on paper.
265.8 x 159.3 cm.
University Museum, Tokyo National University of Fine Arts and Music.