TSUCHIDA Bakusen: Explication on Portraiture and Position in the Modern Kyoto Painting Circle

土田博仙：肖像画及其在现代京都画坛中的地位阐释

• 批准号: 23520167
• 负责人: UEDA Aya
• 金额: $ 1.5万
• 依托单位: Kyoto Institute of Technology
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 2011
• 资助国家: 日本
• 起止时间: 2011 至 2013
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-23520167/
• 关键词: 土田麥僊; 近代日本美術; 日本画; 京都画壇; 人物画; ニルス・ダルデル; 近代京都の絵画; 舞妓図; 京都の日本画

TSUCHIDA Bakusen(1887-1936) was a Nihonga (the Japanese painting) painter, who painted many Maiko paintings in modern Kyoto. Neverthless, his works have not been classified into so-called Bijinn-ga (the genre painting of beautiful women), unlike the paintings of UEMURA Shoen, KABURAKI Kiyokata and ITO Shinsui. This fact likely suggests that his works were distinctive in terms of painting styles, such as fine lines and bright flat color, as well as painting aimes.By using two analytical viewpoints, personality and symbol, this study reveals that his painting presents high personality of individual model while at the same time symbolizing yearning for graceful Buddhist world. His works combine the personality of Maiko face with religious yearning for the Buddhist painting of Heian period. The image of two, Maiko and Buddha, are far apart from each other, and therefore, Bakusen's portraiture that combined both of them creates a new fascination.

土田巴库森（1887-1936）是日本画派画家，在近代京都创作了许多舞舞画。然而，他的作品并没有像植村秀渊、KABURAKI Kiyokata、伊藤新井等人的作品那样被归类为所谓的美女风俗画（Bijinn-ga）。这可能表明，他的作品在细腻的线条和明亮的平面色彩等绘画风格以及绘画目的方面都与众不同。通过个性和象征两种分析视角，揭示出他的绘画呈现出个体模特的高度个性，同时又象征着对优雅佛教世界的向往。他的作品结合了舞舞脸的个性和对平安时代佛教绘画的宗教向往。舞伎和佛陀这两个形象相距甚远，因此，巴库森将两者结合在一起的肖像创造了一种新的魅力。

项目成果

土田麥僊の人物画について―肖像性と象徴性をめぐる考察―

关于土田布森的肖像画 - 关于肖像画和象征主义的思考 -

• 发表时间: 2013
• 期刊: デザイン理論
• 作者: SHOJI Yota;SADAKUNI Shingo;MOTOYAMA Kiyofumi;上田文
• 通讯作者: 上田文