2010 年 16 巻 2 号 p. 33-42
Enosho is a category of paintings drawn since the Edo era, depicting Japanese agriculture and rural society prior to modernization. Today in Japan, similar paintings depicting Japanese modern rural life, “Gendai Enosho” are drawn by aged people from rural based on their experiences. Because Enosho in Edo and modern era was depicting things at the time of creation, it has been recognized as historical records. On the other hand, Gendai Enosho is drawn based on painters’ memory, so it can be recognized as representation of painters’ contemporary interpretation of modern rural life. Previous studies investigated the feature of representation of rurality in various mass media, but it seems that the character of Gendai Enosho as representation is different from such media in its aims and contents.
This paper aims to examine the feature of Gendai Enosho as representation of modern rural life. For this purpose, “Yamazato Monogatari” , a book of paintings by Akio Nakamura, was selected as an example of Gendai Enosho, and clarified the feature of representation by examining Akio’s personal history and his aims of drawings, and contents of his paintings. Akio was born in 1925 to a farming family in countryside of Hida-Takayama. After the Second World War, he moved to Tokyo and became a police officer. After his retirement, he began to paint “Yamazato Monogatari” for sharing his memories with his generation in his country. In this book, he re-evaluated the local endemism and farmer’s creativity in modern rural life comparing with uniformity and specialization in consumption in present urban city, and depicted the modern rural life and values artistically and realistically.
The feature of Gendai Enosho as representation is that common people from rural has re-elvaluated modern rural life from present viewpoint for people in the local community. Unlike vague rurality in mass media, the representation in Gendai Enosho proposes concrete and persuasive value of modern rural life in each local society.