| Project/Area Number |
18K00118
|
|---|
| Research Category |
Grant-in-Aid for Scientific Research (C)
|
| Allocation Type | Multi-year Fund |
|---|
| Section | 一般 |
|---|
| Review Section |
Basic Section 01050:Aesthetics and art studies-related
|
|---|
| Research Institution | Hokkaido University of Education |
|---|
Principal Investigator |
|
|---|
| Co-Investigator(Kenkyū-buntansha) |
山田 修 東京藝術大学, 大学院美術研究科, 特任教授 (30571723)
|
|---|
| Project Period (FY) |
2018-04-01 – 2021-03-31
|
| Project Status |
Completed (Fiscal Year 2020)
|
| Budget Amount *help |
¥2,600,000 (Direct Cost: ¥2,000,000、Indirect Cost: ¥600,000)
Fiscal Year 2020: ¥520,000 (Direct Cost: ¥400,000、Indirect Cost: ¥120,000)
Fiscal Year 2019: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2018: ¥1,170,000 (Direct Cost: ¥900,000、Indirect Cost: ¥270,000)
|
|---|
| Keywords | 石井鶴三 / 島崎藤村 / 木彫 / 近代彫刻 / 木取り / イサム・ノグチ / 木曽馬 / 木曽教育会 / 造型論 / 立体概念 / 基本形 |
|---|
| Outline of Final Research Achievements |
This research is an inspection of a wood piece of excess materials and also to try reproducing of sculpting process of “ Shimazaki Toson sensei-zo(Toson-zo)” for studying of modernity on Ishii Tsuruzo. Research objects were two plaster models, two wood carving sculptures and about 130 pieces of their wood excess materials. Some of the other recorded materials of his project, such as two photo albums of making process, words of Ishii Tsuruzo and his associates in the publications of “Kiso-kyouiku” and “Shinano-kyouiku” and his secondary project “Kiso-Uma-zo” were also researched. And discovery of a missing booklet “My Present to memory” in the Isamu Noguchi Foundation (NY) made the research meaningful to refere for Toson-zo in relation with modern sculptures. For these three years, all the research objects were carefully studied and made 7 scholarly papers.
|
| Academic Significance and Societal Importance of the Research Achievements |
本研究においては、これまで未検証であった2体の木彫、2体の石膏原型、現存する全木片、写真資料を整理、記録した。作品群、木片群、については３Dデジタル形状計測を行い、実測に基づく制作工程再現（CGによる）に向けた基礎条件を整備した。これにより、藤村像制作事業が表す近代木彫の原理的なものが、広く学術上に共有される環境が整った。また、藤村像の制作手法をキュビスムと評したイサム・ノグチは、その制作工程写真と英文解説を本国に持ち帰ったが、ここに関わる本研究の造形論的考究は、ブランクーシ、ジャコメッティらと石井との比較検証を可能とし、総じて近代彫刻の原理を世界的視座から浮かび上がらせる画期的意義を有す。
|
