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[in Japanese]
2007 Volume 2007 Issue 290 Pages
4
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Keiko TANAKA
2007 Volume 2007 Issue 290 Pages
8-14
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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New fine-arts education in Meiji period nurtured the soil to produce new Japanese painting styles. In Kyoto, following the trends of Tokyo Art School and the vogue of both domestic and foreign artistic trends, the Japanese style painting was breaking away from the old system. This paper will examine the modernization of art schools in Kyoto during the period from Meiji to Taisho, with the trends in Tokyo in perspective. In particular, while paying attention to the internal education of painters at the schools, it will examine the role fulfilled by the psychologist and leader of the ideology in the painting circles of Kyoto, Matsumoto Matataro, and clarify the orientation of the fine-arts education targeted in those days.
It can be said that the modernization of Japanese paintings in Kyoto progressed in parallel to the philosophical teachings of Matsumoto Matataro, which required the painter to draw even the internal part of the painting subjecthrough deep observation and awareness of his association with the society, in addition to the guidance on practical skills by Takeuchi Seiho, who adopted the new painting concept of depicting the world through the perception of the individual.
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Aya TORIGOE
2007 Volume 2007 Issue 290 Pages
16-25
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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The purpose of this paper is clarifying contact with the childcare person and small children in appreciation. In this research, observation of the infantile appreciation activities and qualitative analysis of an observation result were performed.
Consequently, the thing of two points became clear.
As the first point, there is two situation setup required for appreciation and it became clear that it is important that a childcare person performs it.
The situation setup is the following two. One is instruction about the method of confrontation with art work. Another is that a childcare person sets up the situation that other small children observe the dialog of a small child and a childcare person.
As the second point, it is important that the childcare person recognizes about a situation setup affects to appreciation of small children. Moreover, it is important that a childcare person has influence on contact with small children and art work.
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Learning from Enjoying Wbrks of Art togcthcr (II)
Yoko HINO
2007 Volume 2007 Issue 290 Pages
26-35
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Activities enabling visually challenged people to enjoy works of art through verbal communication with people who can see are spreading throughout Japan. These activities started in response to visually challenged people's desire to enjoy two-dimensional works of art, paintings and drawings, that should not be touched. Participating in such activities, I found some problems. Many people who are not visually challenged feel stress when participating; they don't know how to describe works of art to the visually challenged and are unsure about what to say.
In order to solve this problem, I looked for fundamental factors of viewing works of art, factors that everyone has clues for when discussing a work of art upon seeing it for the first time at a gallery. In this essay, I analyzed spontaneous remarks and conversations of viewers with no specialized knowledge of art or art history when they see works of art. From these analyses, I found that their remarks and conversations correspond approximately to the three factors that Nancy R. Smith indicated as the clues to understanding children's drawings, considering the development of their drawing: narrative/ideological factor, emotional factor, composition factor. Observing what people feel when they see a work of art, instead of trying to find the answer in the work itself or the artist, essentially corresponds with the expression factors of children. We were all artists when we were children. Such remarks and conversation describing works of art go beyond informing people who are visually challenged, resulting in creating shared images.
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Hirotoshi MATSUOKA
2007 Volume 2007 Issue 290 Pages
38-47
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Akimi MATSUYAMA
2007 Volume 2007 Issue 290 Pages
48-51
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Kazuki MATSUMURA
2007 Volume 2007 Issue 290 Pages
52-54
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Yumi ENDO
2007 Volume 2007 Issue 290 Pages
56-59
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Shinya NIIZEKI
2007 Volume 2007 Issue 290 Pages
62-69
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Keiichi UMEZAWA
2007 Volume 2007 Issue 290 Pages
70-75
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Isao OHASHI
2007 Volume 2007 Issue 290 Pages
76-85
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Osamu KOBAYASHI
2007 Volume 2007 Issue 290 Pages
86-90
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Akira OSHIMA
2007 Volume 2007 Issue 290 Pages
92-96
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Yoshio IZUMIYA
2007 Volume 2007 Issue 290 Pages
98-106
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Rikako AKAGI
2007 Volume 2007 Issue 290 Pages
108-112
Published: March 01, 2007
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Shosaburo KIMURA
2007 Volume 2007 Issue 290 Pages
114-119
Published: March 01, 2007
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[in Japanese]
2007 Volume 2007 Issue 290 Pages
120
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Eiji SUZUKI, Tsunemichi KANBAYASHI, Ikuo KONDO, Isao OHASHI, Yoshiko U ...
2007 Volume 2007 Issue 290 Pages
122-129
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Keiko TANAKA
2007 Volume 2007 Issue 290 Pages
130-132
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Tomoko TANO
2007 Volume 2007 Issue 290 Pages
134-135
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Katsuko SUZUKI
2007 Volume 2007 Issue 290 Pages
136-138
Published: March 01, 2007
Released on J-STAGE: June 03, 2011
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Noriko KAYA
2007 Volume 2007 Issue 290 Pages
140-141
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Kentaro CHIBA
2007 Volume 2007 Issue 290 Pages
142-144
Published: March 01, 2007
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Tadakazu HASHIMOTO
2007 Volume 2007 Issue 290 Pages
146-148
Published: March 01, 2007
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Kenji YAMAGUCHI, Yayoi MORI, Rikako AKAGI
2007 Volume 2007 Issue 290 Pages
150-151
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Chikako KAMATA
2007 Volume 2007 Issue 290 Pages
152-153
Published: March 01, 2007
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Tsunemichi KANBAYASHI
2007 Volume 2007 Issue 290 Pages
154
Published: March 01, 2007
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Shinya NIIZEKI, [in Japanese]
2007 Volume 2007 Issue 290 Pages
156
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Hajimu KAJIOKA
2007 Volume 2007 Issue 290 Pages
157
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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Isao OHASHI, [in Japanese]
2007 Volume 2007 Issue 290 Pages
158
Published: March 01, 2007
Released on J-STAGE: October 20, 2010
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