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シンポジウム「いくさの表象」 近代日本の元寇図と〈蒙古襲来絵詞〉
https://doi.org/10.24619/00004015
https://doi.org/10.24619/000040156f1c5966-d04e-4db0-a060-362d847ee6d8
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
シンポジウム「いくさの表象」 近代日本の元寇図と〈蒙古襲来絵詞〉 (5.9 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2019-10-28 | |||||
| タイトル | ||||||
| タイトル | シンポジウム「いくさの表象」 近代日本の元寇図と〈蒙古襲来絵詞〉 | |||||
| タイトル | ||||||
| タイトル | Symposium: "Representation of a War", The Mōko Shūrai Ekotoba and Painting of Mongol Invasion in modern Japan | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | いくさの表象 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 元寇図 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 蒙古襲来絵詞 | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
| 資源タイプ | conference paper | |||||
| ID登録 | ||||||
| ID登録 | 10.24619/00004015 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
金, 容澈
× 金, 容澈× KIM, Yongcheol |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | The experience of the Mongolian invasions that occurred two times in 1274 and 1281, and were repulsed by Kamikaze came to strengthen the Japanese traditional consciousness of being a divine land, the sense of being one nation, and the reliance on the gods of Buddhism and Shinto. It also became the background of a production of Painting of the Mongol invasion (元寇図). Excepting the Mōko shūrai ekotoba (蒙古襲来絵詞: Illustrated Account of the Mongol Invasion), in literature works such as the Taiheiki (太平記), the Hachimangudokun (八幡愚童訓), or the Masukagami (増鏡） which were written in the 14ｔｈ century, in most of the painting of the Mongol invasion, the format is small and the images were not constant. In early examples of Painting of the Mongol invasion painted in Edo Period, Ema (絵馬), or Ukiyoe (浮世絵) by UTAGAWA Kuniyoshi (歌川国芳: 1798－1861), several scenes involving ground battles, both camps, and naval battle are described, while the Mongolian armed vessels were emphasized as destroyed by the Kamikaze in KIKUCHI Yōsai (菊池容齋: 1788－1878)’s Painting of Mongolian Invasion. The big change in representations in the Painting of the Mongol invasion focusing on the Kamikaze until early time of Meiji period was related with the donation of the Mōko shūrai ekotoba (蒙古襲来絵詞: Illustrated Account of the Mongol Invasion) to the Royal Family by the Ōyano (大矢野) Family. The painter who brought a change in the representation in the painting on the Mongol invasion theme, and who participated in the movement for the establishment of a Monument commemorating the Mongol invasion – started when the Sino-Japanese War occurred in 1894 – was Yada Issho (矢田一嘯:1859 －1913). He studied western painting in America after having studied Japanese painting as a student of KIKUCHI Yōsai. He achieved the Grand Oil Painting of the Mongol invasion in 1896 and expose it publicly. In the Grand Oil Painting of the Mongol invasion, composed of 14 pieces, YADA created a new image of the Painting of the Mongol invasion by mixing motives from the Mōko shūrai ekotoba and a Kamikaze scene that can be seen in the KIKUCHI’s Painting of the Mongol invasion. In particular, he completed the dramatic and dynamic scene by using a scene inspired by the ŌYANO brothers in the Mōko shūrai ekotoba, which became a common pattern. During the Asia-Pacific War Era, GONDŌ Taneo (権藤種男: 1891－1954) and ISODA Chōshu (磯田長秋: 1880－1947) carried on this representation of Painting of the Mongol invasion and fixed it. It can be explained that the number of Painting of the Mongol invasion or Kamikaze diminished its degrees, as a phenomenon of inverse proportion appeared with the increase of Kamikaze suicide commando at the end of same era. |
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| 書誌情報 |
第４２回 国際日本文学研究集会会議録 en : PROCEEDINGS OF THE 42nd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 42, p. 136-156, 発行日 2019-03-28 |
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| 出版者 | ||||||
| 出版者 | 人間文化研究機構 国文学研究資料館 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0387-7280 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
