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Overseas reception of modern Japanese prints : between the early Showa period and the postwar Allied Occupation

现代日本版画的海外接受：昭和初期至战后盟军占领期间

基本信息

批准号：
17520089
负责人：
KUWAHARA Noriko
金额：
$ 1.9万
依托单位：
Seitoku University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2005
资助国家：
日本
起止时间：
2005 至 2007
项目状态：
已结题

项目摘要

The purpose of this research was to examine the ways in which modern Japanese prints were received by Western countries during the period between the early Showa period and the postwar Allied Occupation. To this end, I have focused on two topics and obtained the following results :1. 'Overseas exhibitions of Japanese prints during the early Showa period' : I have researched exhibitions of modern Japanese prints held in Europe and the US between 1934 and 1937. I have collated the lists of works exhibited and examined details of the exhibitions and local responses to them. From the various documents, I have established that the Creative Print artists, who had always maintained that their art was distinct from the traditional ukiyo-e prints, in fact adopted a strategy of presenting their works as a continuation of ukiyo-e. This led to a significant success at the 1934 Paris exhibition. However, within Japan. Creative Prints were still considered as minor art.2. American collectors during the Occupation period' : I have established the process through which some key American collectors among the Occupation personnel became acquainted with Creative Print artists. I have also found that these American collectors(such as William Hartnett and Oliver Staler)played a significant part in the rapid recognition of Japanese prints on the international stage. Their promotional activities such as publications and exhibitions resulted in the international recognition of modern Japanese prints, which in turn contributed to their recognition within Japan.These results will provide an important basis for the future study of the history of modern Japanese prints. They will also benefit the study of the roles that Japanese prints have played in the international context, and in the reconsideration of artistic and cultural particularities that are inherent in Japanese prints.

本研究的目的是考察日本现代版画在昭和初期至战后盟军占领期间被西方国家接受的方式。为此，笔者重点研究了两个课题，并取得了以下成果：1.“昭和初期日本版画的海外展览”：我研究了1934年至1937年在欧洲和美国举办的日本现代版画展览。我整理了展出的作品清单，并研究了展览的细节和当地对它们的反应。从各种文件中，我已经确定，创意版画艺术家，谁一直坚持他们的艺术是不同于传统的浮世绘版画，实际上采取了一种策略，提出他们的作品作为浮世绘的延续。这导致了1934年巴黎展览的巨大成功。然而，在日本国内。创造性的版画仍然被认为是次要艺术。占领时期的美国收藏家：我已经建立了一个过程，通过这个过程，一些主要的美国收藏家在占领人员中结识了创造性的版画艺术家。我还发现，这些美国收藏家（如威廉哈特尼特和奥利弗斯塔勒）在日本版画在国际舞台上迅速获得认可方面发挥了重要作用。他们通过出版、展览等宣传活动，使日本近代版画得到了国际上的认可，进而在日本国内得到了认可，这些成果将为今后日本近代版画史的研究提供重要的依据。它们也将有利于研究日本版画在国际背景下所扮演的角色，以及重新思考日本版画所固有的艺术和文化特性。

项目成果

期刊论文数量（0）

专著数量（0）

科研奖励数量（0）

会议论文数量（0）

专利数量（0）

Onchi Koshiro's 'Portrait of hagiwara Sakutaro' : Western Collectors of Sosaku Hanga during the Allied Occupation

恩地耕四郎的《萩原作太郎肖像》：盟军占领期间西方收藏家作作半画

DOI：
发表时间：
2007
期刊：
Bulletin of the Study on Philosophy and History of Art in University of Tsukuba 23
影响因子：
0
作者：
Noriko;Kuwahara
通讯作者：
Kuwahara

Onchi's Portrait of Hagiwara Sakutaro:Emblem of the Creative Print Movement for American Collectors

翁地的萩原作太郎肖像：美国收藏家创意版画运动的象征

DOI：
发表时间：
2008
期刊：
Impressions(The Journal of the Japanese Art Society of America) 第29号
影响因子：
0
作者：
森雅彦;他;A.ボイム(翻訳);Hisashi Yakou;Hisashi Yakou;谷古宇尚;谷古宇尚;Hisashi Yakou;谷古宇尚;下原美保;Shimohara Miho;下原美保;下原美保;下原美保;下原美保;Noriko Kuwahara(桑原規子)
通讯作者：
Noriko Kuwahara(桑原規子)

恩地孝四郎の《『氷島』の著者、萩原朔太郎像》をめぐって-占領期における欧米人コレクターと創作版画の国際的評価-

关于恩地幸四郎的《冰岛作者萩原作太郎雕像》——西方收藏家和占领时期原版版画的国际评价——