| Project/Area Number |
26350015
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Design science
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| Research Institution | Akita University of Art |
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Principal Investigator |
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| Project Period (FY) |
2014-04-01 – 2017-03-31
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| Project Status |
Completed (Fiscal Year 2016)
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| Budget Amount *help |
¥1,950,000 (Direct Cost: ¥1,500,000、Indirect Cost: ¥450,000)
Fiscal Year 2016: ¥520,000 (Direct Cost: ¥400,000、Indirect Cost: ¥120,000)
Fiscal Year 2015: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2014: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
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| Keywords | 平山英三 / 長沼守敬 / 安田禄造 / トリノ万国博覧会 / ローマ美術博覧会 / 商品改良会 / 東京高等工芸学校 / 近代デザイン理念 / ローマ万国美術博覧会 / ヨーゼフ・ホフマン / 工芸運動 / 図案及応用作品展 / 工芸展覧会 |
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| Outline of Final Research Achievements |
Hirayama Eizo was dispatched to the International Exhibition held in Turin, Italy, as head of the Japanese Exhibition Committee in 1911. During the exhibition, Hirayama often visited Rome where the International Exhibition of Fine Art was held, and made short trips to many European cities, where he learned firsthand about many new industrial products. After returning to Japan in 1912, Hirayama, as chairman of the committee of the Japanese product improvement exhibition, published articles not only to report that the style of the current European industrial products for daily use was turning towards the new style that was characterized by simple form and soft color, but also to advise Japanese designers to move beyond Art Nouveau style and Secession style into a new Japanese style for products useful for daily life. Hirayama’s criticism provided the basis for discussion about Japanese ideas of developing not industrial art but industrial design from the 1910s to the 1930s.
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