“理想画”への道程―橋本雅邦《龍虎》以後―

This article focuses on how the terms “ideal” and “ideal painting” figured in mid-Meiji period discourse on paintings. The starting point for this verbal focus was Hashimoto Gahaô\u27s Dragon and Tiger painting. Exhibited in the 4th Domestic Industrial Exposition held in Meiji 28 (1895), the unusually misshapen forms in this Dragon and Tiger painting were subject to both praise and censure in the newspapers of the day. The fact that one individual painting could set off a media discussion was as epochmaking as the art world debate regarding nude images which surrounded Kuroda Seiki\u27s Morning Toilette, exhibited in the same Exposition. In the case of Dragon and Tiger, the media, namely magazines and newspapers, ably and eloquently reported the “kokoromochi (heartfelt)” stance of Gahô, in other words, the stance of reproducing his own feelings rather than the external forms of his subjects, in their defence of Gahô against critics of his work. Their discussion also touched on the composition which was a complete rejection of a Western realistic expression. Such a stance was an opportunity for the liberation of a painter\u27s independence, with its interpretation of the “i” of sha\u27 i”, literally depiction of an idea, as opposed to depiction of reality, as meaning the feelings of the painter. Hishida Shunsô and others of the younger painters around Gahô absorbed depictive methods, and also chose to use ideal or ideological subjects formed by the artist\u27s imagination. The words the young painters used about such works, resulted in the appearance of a new term, “the ideal”, in the context of their debate. Risô, the Japanese term used for the English term “ideal”, was created as the translation of a Western concept and was first used in philosophical settings. During the mid-Meiji period the term risô was frequently used with a negative connotation that suggested a lack of reality-- mere ideology, or empty or impractical theories. In the art world, there was a major trend toward imbuing the term risô with the subjective meanings of the traditional Asian painting term sha\u27i, and risô came to represent the pinnacle of such thoughts. The “idealist” tendency was not limited to Nihonga painters, as Izumi Kyôka and other idea novelists of the period fell in line with the trend. Indeed, we can note that Kuroda Seiki created his Wisdom, Impression, Sentiment triptych fully aware of his ambivalence against this trend. Further, within the realm of Nihonga itself, Yokoyama Taikan and Hishida Shunsô experimented with their môrôtai blurred painting style as part of an attempt to purify the “mood” found in their subjects, and to create an all the more lyrical, flexible idealism.第379号、p.48に本論文の正誤表掲載