{"created":"2023-06-20T15:05:35.481697+00:00","id":2843,"links":{},"metadata":{"_buckets":{"deposit":"1ec1ebab-1d73-46b7-acf6-f56a3fafde41"},"_deposit":{"created_by":3,"id":"2843","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"2843"},"status":"published"},"_oai":{"id":"oai:osaka-shoin.repo.nii.ac.jp:00002843","sets":["221:226"]},"author_link":["5559","5560","5561"],"control_number":"2843","item_1_alternative_title_5":{"attribute_name":"論文名よみ","attribute_value_mlt":[{"subitem_alternative_title":"ウキヨエ ハンガ ノ クウカン ヒョウゲン ウキエ ト エンキンホウ オ チュウシン ト シテ","subitem_alternative_title_language":"ja"}]},"item_1_biblio_info_14":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2006-01-31","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"69","bibliographicPageStart":"57","bibliographicVolumeNumber":"5","bibliographic_titles":[{"bibliographic_title":"大阪樟蔭女子大学人間科学研究紀要"}]}]},"item_1_creator_6":{"attribute_name":"著者名(日)","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"仲谷, 兼人","creatorNameLang":"ja"}],"nameIdentifiers":[{}]}]},"item_1_creator_7":{"attribute_name":"著者名よみ","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"ナカタニ, カネト","creatorNameLang":"ja"}],"nameIdentifiers":[{}]}]},"item_1_creator_8":{"attribute_name":"著者名(英)","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{}],"nameIdentifiers":[{}]}]},"item_1_description_1":{"attribute_name":"ページ属性","attribute_value_mlt":[{"subitem_description":"P(論文)","subitem_description_type":"Other"}]},"item_1_description_11":{"attribute_name":"抄録(日)","attribute_value_mlt":[{"subitem_description":"絵画表現の本質は2次元の平面上に3次元の空間を再現するところにある。このことと、網膜像に基づいて立体的な空間を認知している我々の視知覚システムの機能との間には強い類似性が指摘できる。本稿では絵画に見られる各種の遠近表現法、特に線遠近法をとりあげ、ルネサンス期以降の西洋絵画と江戸期の浮世絵を比較して論じている。知覚心理学と芸術心理学の立場から、単眼性の「奥行き知覚の手がかり」が芸術表現の意図とどのように調和し、利用されているか、例を示しながら紹介した。 初期の浮世絵の中にはルネサンスの線遠近法の直接的・間接的影響を受け、紙面上に構成された奥行きのイリュージョンを楽しむものがみられた。これを浮絵と呼ぶ。浮絵はくぼみ絵の別称が示すように奥行き感の表現を重視したが、次第に線遠近法の制約、限界を意識し、最盛期には洗練された独自の空間表現が見られるようになった。葛飾北斎は伝統的な日本画の表現と線遠近法に基づいて構成される近代的な風景表現を画面上に描き分け、観察者を窮屈な幾何学的枠組みから解放した。また直線を用いず、多くの同心円で構成された画面から新たな幾何学的遠近法の可能性を示した。安藤広重は伝統的な俯瞰図を遠近法と調和させ、観察者の視線を誘導することによって空間の広がりを表現することに成功した。同時期西洋では印象派がルネサンス以来の空間表現の限界を打破すべく台頭し始めていたが、幕末の開国以降、浮世絵は西欧、とくにフランスでよく知られるようになり、ジャポニズムの流行とともにロートレック、セザンヌ、ドガ、ゴッホをはじめとする後期印象派に強い影響を与えた。","subitem_description_type":"Other"}]},"item_1_description_12":{"attribute_name":"抄録(英)","attribute_value_mlt":[{"subitem_description":"Ukiyo-e was a popular form of printed art in Japan during the Edo period. In this article, the feature of the special construction of Ukiyo-e had been discussed in terms of perspective and visual depth perception. In the early era of Ukiyo-e, there was some works influenced by geometric perspective of Renaissance drawings. Uki-e translates as \"the floating painting\" connotes the visual depth illusion. The artists in the golden age of Ukiyo-e, Katsushika Hokusai(1760-1849) and Utagawa Hiroshige(1797-1858) refined their expression of the landscape prints and developed the original style of construction. They harmonized traditional bird's-eye view drawings with perspective and emancipated viewers from the frame of geometry. After Japan opened trade with the West after 1867, these prints became very well-known and influential in Europe, especially in France. Ukiyo-e and Japonisme influenced such artists as Henri de Toulouse-Lautrec, Edgar Degas, Vincent van Gogh, and the artists known as Post-Impressionists.","subitem_description_type":"Other"}]},"item_1_source_id_13":{"attribute_name":"雑誌書誌ID","attribute_value_mlt":[{"subitem_source_identifier":"AA11637107","subitem_source_identifier_type":"NCID"}]},"item_1_text_10":{"attribute_name":"著者所属(英)","attribute_value_mlt":[{"subitem_text_language":"en","subitem_text_value":"Osaka Shoin Women's University"}]},"item_1_text_9":{"attribute_name":"著者所属(日)","attribute_value_mlt":[{"subitem_text_value":"大阪樟蔭女子大学人間科学部"}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2006-01-31"}],"displaytype":"detail","filename":"KJ00004120727.pdf","filesize":[{"value":"5.4 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"url":"https://osaka-shoin.repo.nii.ac.jp/record/2843/files/KJ00004120727.pdf"},"version_id":"64f0e56e-aac0-4a7d-8b09-3f274828c09d"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"浮世絵","subitem_subject_scheme":"Other"},{"subitem_subject":"遠近法","subitem_subject_scheme":"Other"},{"subitem_subject":"奥行き知覚","subitem_subject_scheme":"Other"},{"subitem_subject":"空間構成","subitem_subject_scheme":"Other"},{"subitem_subject":"Ukiyo-e","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"perspetive","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"depth perception","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"spatial construction","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"浮世絵版画の空間表現 : 浮絵と遠近法を中心として","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"浮世絵版画の空間表現 : 浮絵と遠近法を中心として","subitem_title_language":"ja"},{"subitem_title":"Spatial Construction in Ukiyo-e","subitem_title_language":"en"}]},"item_type_id":"1","owner":"3","path":["226"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2006-01-31"},"publish_date":"2006-01-31","publish_status":"0","recid":"2843","relation_version_is_last":true,"title":["浮世絵版画の空間表現 : 浮絵と遠近法を中心として"],"weko_creator_id":"3","weko_shared_id":-1},"updated":"2024-02-05T06:37:28.593556+00:00"}