\r\n再録: \u003Ca href=\"https://id.ndl.go.jp/bib/000007727768\" target=\"_blank\">https://id.ndl.go.jp/bib/000007727768\u003C/a>","First printed: \u003Ca href=\"\"https://id.ndl.go.jp/digimeta/2242039\"\" target=\"\"_blank\"\">https://id.ndl.go.jp/digimeta/2242039\u003C/a>\u003Cbr/>\r\nReprinted: \u003Ca href=\"\"https://id.ndl.go.jp/bib/000007727768\"\" target=\"\"_blank\"\">https://id.ndl.go.jp/bib/000007727768\u003C/a>","『日本の伝統』:9784906708550","縄文土器論 (1952)","On Jōmon Pottery (1952)",[290],{"related_artist_id":291,"related_artist_label":292},"A1191","岡本太郎","https://contents.artplatform.go.jp/wp-content/uploads/2023/01/APJ_202227_Okamoto1952.pdf",3.2,"2023-03-07",{"self":297,"collection":300,"about":302,"version-history":304,"predecessor-version":308,"wp:attachment":312,"wp:term":315,"curies":324},[298],{"href":299},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2064",[301],{"href":118},[303],{"href":121},[305],{"count":306,"href":307},5,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2064/revisions",[309],{"id":310,"href":311},3022,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2064/revisions/3022",[313],{"href":314},"https://contents.artplatform.go.jp/wp-json/wp/v2/media?parent=2064",[316,318,320,322],{"taxonomy":135,"embeddable":136,"href":317},"https://contents.artplatform.go.jp/wp-json/wp/v2/categories?post=2064",{"taxonomy":139,"embeddable":136,"href":319},"https://contents.artplatform.go.jp/wp-json/wp/v2/tags?post=2064",{"taxonomy":142,"embeddable":136,"href":321},"https://contents.artplatform.go.jp/wp-json/wp/v2/text_type?post=2064",{"taxonomy":145,"embeddable":136,"href":323},"https://contents.artplatform.go.jp/wp-json/wp/v2/theme?post=2064",[325],{"name":149,"href":150,"templated":136},{"id":327,"date":328,"date_gmt":329,"guid":330,"modified":332,"modified_gmt":333,"slug":334,"status":66,"type":67,"link":335,"title":336,"content":338,"excerpt":340,"featured_media":76,"template":77,"meta":342,"categories":343,"tags":344,"text_type":345,"theme":346,"data":347,"_links":371},1813,"2022-08-25T06:26:16","2022-08-24T21:26:16",{"rendered":331},"https://contents.artplatform.go.jp/?post_type=text&p=1813","2023-03-31T11:45:08","2023-03-31T02:45:08","r202205","https://contents.artplatform.go.jp/text/r202205/",{"rendered":337},"「見せもの」の批評",{"rendered":339,"protected":73}," 中原佑介(1931–2011)は、京都大学物理学科を卒業したのち、「創造のための批評」が美術出版社第2回美術評論募集第一席に入選したことで、美術批評家としての活躍を始めた。戦後日本美術批評においては、針生一郎、東野芳明と並んで、御三家と称されるが、そのなかでも、理論的な批評を得意とした人物として知られている。\u003Cbr> \r\n\r\n 本論考は、中原の批評のなかでも初期のものであり、全体としては当時の日本美術批評が貧困であることが指摘されている。針生や東野、あるいは瀬木慎一ら、若手の批評家に言及しつつ、従来の印象批評や技術批評を批判しながらも、そこにとどまることなく、美術がそもそも「見られるべきもの」「見せもの」であるというところから議論を出発させている点に彼の炯眼がうかがえる。「わたしは作家でもなく、観衆でもなく、批評する立場を確立してゆこうと思う」との言葉からは、その後の中原がまさしく批評家として自らの立ち位置を定めていったことが想起される。美術そのものをどう考えるか、という視点は、作品を所与のものとして論じる態度から脱却し、批評的な方法論から美術の創出に貢献するという意思表明に他ならない。\u003Cbr> \r\n\r\n 事実、中原は1970年の東京ビエンナーレ「人間と物質」展のように、それまでの批評家の枠組みを超えた活動を展開していくようになる。1956年という時点で、すでに美術批評の役割をとらえなおそうとした本論考の意義は、まさしく「見せる」ことに重きを置いた中原佑介の活動全体の道筋を示すものであった。 ",{"rendered":341,"protected":73}," 中原佑介(1931–2011)は、京都大学物理学科を卒業したのち、「創造のための批評」が美術出版社第2回美術評論募集第一席に入選したことで、美術批評家としての活躍を始めた。戦後日本美術批評においては、針生一郎、東野芳明 […]",[],[],[],[82],[21],{"description_ja":85,"description_en":85,"title_en":348,"content_en":349,"author":350,"translator":351,"author_en":352,"translator_en":353,"text_file":354,"text_filesize":355,"first_published":356,"first_published_en":356,"year_translated":95,"year_translated_en":95,"editing":357,"editing_en":358,"design":98,"design_en":99,"theme":23,"theme_en":24,"copyright":359,"copyright_en":360,"citation":361,"citation_en":361,"original_japanese_edition":362,"original_japanese_edition_en":363,"ndl_link":364,"ndl_link_en":365,"isbn":366,"isbn_en":366,"title_for_list":367,"title_for_list_en":368,"related_artists":73,"related_works":73,"pdf":369,"pdf_filesize":110,"published_at":370,"updated_at":370},"For a Criticism of \u003Cem>Misemono\u003C/em>"," \r\n\r\nNakahara Yūsukue (1931–2011) began his career as an art critic shortly after graduating from the physics department at Kyoto University when his essay “Sōzō no tame no hihyō” [Criticism for creation] was selected as the first-place winner in Bijutsu Shuppansha’s second annual art criticism contest held in 1955. Remembered as one of the “Big Three” art critics of postwar Japan alongside Hariu Ichirō and Tōno Yoshiaki, Nakahara is known particularly for the strength of his theoretical criticism. \u003Cbr> \r\n\r\n \r\n\r\nThis essay, one of Nakahara’s earliest works, points out the impoverished state of Japanese art criticism of the time. Nakahara refers to the work of other young critics, such as Hariu, Tōno, and Segi Shin’ichi, while criticizing the conventional art criticism of the period as impressionistic and technical. He pushes further, however, taking as the starting point of his discussion the fact that art is, from its outset, a \u003Cem>misemono\u003C/em>, or “something intended to be shown,” and it is here in this assertion that Nakahara’s keen eye becomes evident. His words, “I will seek to stake a position of critical practice—neither as artist, nor as public,” recall how he went on to establish himself precisely as such a critic. Nakahara’s perspective on how to think about art itself is nothing short of a declaration of his intent to break free of the attitude that takes artworks as givens and instead contribute to the creation of art through a critical methodology. \u003Cbr> \r\n\r\n \r\n\r\nIn fact, Nakahara’s activities, such as his work on the 1970 Tokyo Biennale Between Man and Matter, went on to surpass the existing framework for what being a critic entailed. This essay, which shows Nakahara already reconsidering the role of art criticism as early as 1956, serves as a vital roadmap of the path that his career, with its emphasis on art as something “to show,” would take. ","中原佑介","イグナシオ・アドリアソラ","Nakahara Yūsuke","Ignacio Adriasola","https://contents.artplatform.go.jp/wp-content/uploads/2022/08/2205.jpg","128 KB","1956","上崎千、松山直希","Naoki Matsuyama, Uesaki Sen","© 2022 Gendai Kikakushitsu + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\n当ウェブサイト (https://artplatform.go.jp) で公開している英訳文献は、教育・研究・批評・調査などの目的に限り、許諾の申請をすることなくご利用していただくことができます。ただし、英訳文献を有料で販売又は配信することを目的とした複製による利用はできません。利用の際は、\u003Ca href=\"https://artplatform.go.jp/ja/about/user-guide#index06\">英訳文献の利用規約\u003C/a>に従ってください。","© 2022 Gendai Kikakushitsu + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\nThe newly published English translations on this website (https://artplatform.go.jp) can be used without permission only for the purposes of education, research, critique, survey, and the like. English translations cannot be copied for the purpose of sale or distribution. You must comply with the \u003Ca href=\"/about/user-guide#index06\">Rules Governing the Use of the English Translations\u003C/a>.","Footnote/endnote: Nakahara Yūsuke, \"For a Criticism of \u003Cem>Misemono\u003C/em>,\" trans. Ignacio Adriasola, Bunka-cho Art Platform Japan, posted October 11, 2022, artplatform.go.jp/readings/R202205. \r\n\u003Cbr>\u003Cbr>\r\nBibliography: Nakahara Yūsuke. \"For a Criticism of \u003Cem>Misemono\u003C/em>.\" Translated by Ignacio Adriasola. Bunka-cho Art Platform Japan. Posted October 11, 2022. artplatform.go.jp/readings/R202205. ","中原佑介「『みせもの』の批評」『文学』24(1956年12月)、43–50頁。再録『中原佑介美術批評選集 第1巻』現代企画室 、2011年、143–56頁。\r\n\u003Cbr>\u003Cbr>\r\nNakahara Yūsuke “‘Misemono’ no hihyō,” Bungaku, no. 24 (December 1956): 43–50. Reprinted in Nakahara Yūsuke bijutsu hihyō senshū: dai-ikkan—sengo bijutsu hihyō no chihei [Selected works of art criticism by Nakahara Yūsuke, Volume 1: Criticism for creation—Perspective on post-war art criticism], (Tokyo: Gendai Kikakushitsu, 2011), 143–56.\r\n","Nakahara Yūsuke “‘Misemono’ no hihyō,” Bungaku, no. 24 (December 1956): 43–50. Reprinted in Nakahara Yūsuke bijutsu hihyō senshū: dai-ikkan—sengo bijutsu hihyō no chihei [Selected works of art criticism by Nakahara Yūsuke, Volume 1: Criticism for creation—Perspective on post-war art criticism], (Tokyo: Gendai Kikakushitsu, 2011), 143–56.\r\n\u003Cbr>\u003Cbr>\r\n中原佑介「『みせもの』の批評」『文学』24(1956年12月)、43–50頁。再録『中原佑介美術批評選集 第1巻』現代企画室 、2011年、143–56頁。\r\n","初版: \u003Ca href=\"https://id.ndl.go.jp/bib/124473\" target=\"_blank\">https://id.ndl.go.jp/bib/124473\u003C/a>\u003Cbr/>\r\n再録: \u003Ca href=\"https://id.ndl.go.jp/bib/000011263597\" target=\"_blank\">https://id.ndl.go.jp/bib/000011263597\u003C/a>","First printed: \u003Ca href=\"https://id.ndl.go.jp/bib/124473\" target=\"_blank\">https://id.ndl.go.jp/bib/124473\u003C/a>\u003Cbr/>\r\nReprinted: \u003Ca href=\"https://id.ndl.go.jp/bib/000011263597\" target=\"_blank\">https://id.ndl.go.jp/bib/000011263597\u003C/a>","『中原佑介美術批評選集 第1巻』:978-4-7738-1110-0","「見せもの」の批評 (1956)","For a Criticism of \u003Cem>Misemono\u003C/em> (1956)","https://contents.artplatform.go.jp/wp-content/uploads/2022/08/APJ_202205_Nakahara1956.pdf","2022-10-11",{"self":372,"collection":375,"about":377,"version-history":379,"predecessor-version":383,"wp:attachment":387,"wp:term":390,"curies":399},[373],{"href":374},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/1813",[376],{"href":118},[378],{"href":121},[380],{"count":381,"href":382},7,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/1813/revisions",[384],{"id":385,"href":386},2526,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/1813/revisions/2526",[388],{"href":389},"https://contents.artplatform.go.jp/wp-json/wp/v2/media?parent=1813",[391,393,395,397],{"taxonomy":135,"embeddable":136,"href":392},"https://contents.artplatform.go.jp/wp-json/wp/v2/categories?post=1813",{"taxonomy":139,"embeddable":136,"href":394},"https://contents.artplatform.go.jp/wp-json/wp/v2/tags?post=1813",{"taxonomy":142,"embeddable":136,"href":396},"https://contents.artplatform.go.jp/wp-json/wp/v2/text_type?post=1813",{"taxonomy":145,"embeddable":136,"href":398},"https://contents.artplatform.go.jp/wp-json/wp/v2/theme?post=1813",[400],{"name":149,"href":150,"templated":136},{"id":402,"date":403,"date_gmt":404,"guid":405,"modified":407,"modified_gmt":408,"slug":409,"status":66,"type":67,"link":410,"title":411,"content":413,"excerpt":415,"featured_media":76,"template":77,"meta":417,"categories":418,"tags":419,"text_type":420,"theme":421,"data":422,"_links":446},2944,"2024-07-09T10:28:24","2024-07-09T01:28:24",{"rendered":406},"https://contents.artplatform.go.jp/?post_type=text&p=2944","2024-07-09T15:58:17","2024-07-09T06:58:17","r202305","https://contents.artplatform.go.jp/text/r202305/",{"rendered":412},"作品選考に美的イデーの確立を",{"rendered":414,"protected":73},"東野芳明(1930–2005)は針生一郎、中原佑介と並んで、美術批評の「御三家」と呼ばれた、戦後日本を代表する美術批評家の一人である。東野は、1954年に美術出版社の新人評論募集で第一席となったことをきっかけに本格的な美術批評の活動を始めた。彼らのような若手批評家は、既成画壇に斟酌することなく前衛的な作家を評価する批評を展開した。三人の中でも東野は、同世代の欧米の作家、とりわけジャスパー・ジョーンズやロバート・ラウシェンバーグといったアメリカの若手作家と親しく交流し、日本に紹介したことでも知られている。\u003Cbr> \r\n本論考で、東野は、日本に限らずヨーロッパにおいても、展覧会という場において、依然としてすでに評価を確立した既成作家たちばかりが重視されている傾向があると述べる。そこには「美的イデー」すなわち美的評価基準が存在していないという。東野はこうした現状を打破する方策として、展覧会を組織し、それがどういった評価基準のもとで構成されたものなのかを語ることのできる批評家の役割が重要であると説いた。\u003Cbr> \r\n本論考はヨーロッパにアメリカ美術の存在を知らしめることになったジャクソン・ポロックの回顧展と「新しいアメリカ絵画」展をきっかけに書かれた。それまでヨーロッパ美術に関心が向いていた東野は、この展覧会を見てアメリカ美術に興味を持ち、当時滞在していたヨーロッパを離れてアメリカに向かうことになった。\u003Cbr> \r\nその後、東野は、日本の若手作家を論じ、アメリカなどの海外作家を紹介するかたわら、展覧会の企画にも携わっていった。「ヤング・セブン」展(1964年)や「色彩と空間」展(1966年)といった国内の展覧会だけでなく、パリ青年ビエンナーレ(1969年)やヴェネチア・ビエンナーレ(1970年、72年)などの海外の展覧会でも日本の作家の紹介に積極的に関わった。なお、東野が構想した「新しい日本絵画」展は、日本側の企画ではないものの、比較的早く実現した。1965年から67年にかけて全米8都市を巡回したニューヨーク近代美術館企画の「新しい日本絵画と彫刻」展である。\r\n",{"rendered":416,"protected":73},"東野芳明(1930–2005)は針生一郎、中原佑介と並んで、美術批評の「御三家」と呼ばれた、戦後日本を代表する美術批評家の一人である。東野は、1954年に美術出版社の新人評論募集で第一席となったことをきっかけに本格的な美 […]",[],[],[],[82],[21],{"description_ja":85,"description_en":85,"title_en":423,"content_en":424,"author":425,"translator":351,"author_en":426,"translator_en":353,"text_file":427,"text_filesize":428,"first_published":429,"first_published_en":429,"year_translated":430,"year_translated_en":430,"editing":431,"editing_en":432,"design":98,"design_en":99,"theme":23,"theme_en":433,"copyright":434,"copyright_en":435,"citation":436,"citation_en":437,"original_japanese_edition":438,"original_japanese_edition_en":439,"ndl_link":440,"ndl_link_en":441,"isbn":77,"isbn_en":77,"title_for_list":442,"title_for_list_en":443,"related_artists":73,"related_works":73,"pdf":444,"pdf_filesize":110,"published_at":445,"updated_at":445},"For a New Aesthetic Concept in the Selection of Artworks: A proposal for a \"new Japanese painting\" exhibition","Tōno Yoshiaki (1930–2005) was a leading figure in postwar Japanese art criticism, known as one of the “Big Three” critics of the period together with Hariu Ichirō and Nakahara Yūsuke. He began his career as a full-fledged critic after winning first prize in art publishing house Bijutsu Shuppansha’s contest for emerging critics in 1954. Young critics like Tōno, Hariu, and Nakahara were not interested in appeasing the existing art establishment and instead sought to develop a critical discourse centering on avant-garde artists. Of the “Big Three,” Tōno is known in particular for having engaged closely with European and American artists of his generation, notably young American artists like Jasper Johns and Robert Rauschenberg, and introducing them to Japan.\u003Cbr> \r\nIn this essay, Tōno examines the tendency, prevalent not only in Japan but also in Europe, for exhibitions to prioritize established artists over newcomers. He argues that such exhibitions lack an “aesthetic concept,” that is, a guiding set of standards for aesthetic evaluation. Tōno emphasizes the crucial role of critics in reshaping this landscape, as it is they who hold the power to curate exhibitions and illuminate the basis on which artworks are selected.\u003Cbr> \r\nThis essay was inspired by Tōno’s experiences at a Jackson Pollock retrospective and The New American Painting show, two landmark exhibitions that introduced American art to Europe. These encounters shifted Tōno’s interest from European to American art and led him to depart Europe, which he had been visiting at the time, for the United States.\u003Cbr> \r\nIn the following years, alongside his work writing about young Japanese artists and introducing to Japan foreign artists from the United States and elsewhere, Tōno became involved in organizing exhibitions. He not only curated domestic shows like Young Seven (1964) and COLOR and SPACE (1966) but also actively introduced Japanese artists internationally through exhibitions abroad, including the Paris Youth Biennale (1969) and the Venice Biennale (1970, 1972). Tōno’s vision for a “New Japanese Painting” exhibition also came to fruition relatively quickly, albeit not as a Japanese-led project but as The New Japanese Painting and Sculpture exhibition organized by the Museum of Modern Art, New York, which toured eight US cities between 1965 and 1967.\r\n","東野芳明","Tōno Yoshiaki","https://contents.artplatform.go.jp/wp-content/uploads/2024/07/APJ_202305.jpg","76 KB","1959","2023","加治屋健司、ヨンシャン・ガオ","Kajiya Kenji, Yung-Hsiang Kao","Critic","© 2023 Imai Ari + National Center for Art Research, Japan\r\n\u003Cbr>\u003Cbr>\r\n当ウェブサイト (https://artplatform.go.jp) で公開している英訳文献は、教育・研究・批評・調査などの目的に限り、許諾の申請をすることなくご利用していただくことができます。ただし、英訳文献を有料で販売又は配信することを目的とした複製による利用はできません。利用の際は、\u003Ca href=\"https://artplatform.go.jp/ja/about/user-guide#index06\">英訳文献の利用規約\u003C/a>に従ってください。","© 2023 Imai Ari + National Center for Art Research, Japan\r\n\u003Cbr>\u003Cbr>\r\nThe newly published English translations on this website (https://artplatform.go.jp) can be used without permission only for the purposes of education, research, critique, survey, and the like. English translations cannot be copied for the purpose of sale or distribution. You must comply with the \u003Ca href=\"/about/user-guide#index06\">Rules Governing the Use of the English Translations\u003C/a>.","Footnote/endnote: Tōno Yoshiaki, \"For a New Aesthetic Concept in the Selection of Artworks: A proposal for a \"new Japanese painting\" exhibition,\" trans. Ignacio Adriasola, National Center for Art Research, Japan, posted July 9, 2024, artplatform.go.jp/resources/readings/R202305. \r\n\u003Cbr>\u003Cbr>\r\nBibliography: Tōno Yoshiaki. \"For a New Aesthetic Concept in the Selection of Artworks: A proposal for a \"new Japanese painting\" exhibition.\" Translated by Ignacio Adriasola. National Center for Art Research, Japan. Posted July 9, 2024. artplatform.go.jp/resources/readings/R202305.","Footnote/endnote: Tōno Yoshiaki, \"For a New Aesthetic Concept in the Selection of Artworks: A proposal for a \"new Japanese painting\" exhibition,\" trans. Ignacio Adriasola, National Center for Art Research, Japan, posted July 9, 2024, artplatform.go.jp/resources/readings/R202305. \r\n\u003Cbr>\u003Cbr>\r\nBibliography: Tōno Yoshiaki. \"For a New Aesthetic Concept in the Selection of Artworks: A proposal for a \"new Japanese painting\" exhibition.\" Translated by Ignacio Adriasola. National Center for Art Research, Japan. Posted July 9, 2024. artplatform.go.jp/resources/readings/R202305. ","東野芳明「「新しい日本絵画展」への提唱 作品選考に美的イデーの確立を」『美術手帖』154号 (1959年3月): 17–19頁.\r\n\u003Cbr>\u003Cbr>\r\nTōno Yoshiaki. \"‘Atarashii Nihon kaigaten’ e no teishō sakuhin senkō ni biteki idē no kakuritsu o\". \u003Cem>Bijutsu techo\u003C/em>, No. 154 (March 1959): 17–19.","Tōno Yoshiaki. \"‘Atarashii Nihon kaigaten’ e no teishō sakuhin senkō ni biteki idē no kakuritsu o\". \u003Cem>Bijutsu techo\u003C/em>, No. 154 (March 1959): 17–19.\r\n\u003Cbr>\u003Cbr>\r\n東野芳明「「新しい日本絵画展」への提唱 作品選考に美的イデーの確立を」『美術手帖』154号 (1959年3月): 17–19頁.","初版: \u003Ca href=\"https://ndlsearch.ndl.go.jp/books/R100000126-I000116584\" target=\"_blank\">https://ndlsearch.ndl.go.jp/books/R100000126-I000116584\u003C/a>\u003Cbr/>","First printed: \u003Ca href=\"https://ndlsearch.ndl.go.jp/en/books/R100000126-I000116584\" target=\"_blank\">https://ndlsearch.ndl.go.jp/en/books/R100000126-I000116584\u003C/a>\u003Cbr/>","作品選考に美的イデーの確立を (1959)","For a New Aesthetic Concept in the Selection of Artworks: A proposal for a \"new Japanese painting\" exhibition (1959)","https://contents.artplatform.go.jp/wp-content/uploads/2024/07/APJ_202305_Tono.pdf","2024-07-09",{"self":447,"collection":450,"about":452,"version-history":454,"predecessor-version":458,"wp:attachment":462,"wp:term":465,"curies":474},[448],{"href":449},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2944",[451],{"href":118},[453],{"href":121},[455],{"count":456,"href":457},4,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2944/revisions",[459],{"id":460,"href":461},3013,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2944/revisions/3013",[463],{"href":464},"https://contents.artplatform.go.jp/wp-json/wp/v2/media?parent=2944",[466,468,470,472],{"taxonomy":135,"embeddable":136,"href":467},"https://contents.artplatform.go.jp/wp-json/wp/v2/categories?post=2944",{"taxonomy":139,"embeddable":136,"href":469},"https://contents.artplatform.go.jp/wp-json/wp/v2/tags?post=2944",{"taxonomy":142,"embeddable":136,"href":471},"https://contents.artplatform.go.jp/wp-json/wp/v2/text_type?post=2944",{"taxonomy":145,"embeddable":136,"href":473},"https://contents.artplatform.go.jp/wp-json/wp/v2/theme?post=2944",[475],{"name":149,"href":150,"templated":136},{"id":477,"date":478,"date_gmt":479,"guid":480,"modified":482,"modified_gmt":483,"slug":484,"status":66,"type":67,"link":485,"title":486,"content":488,"excerpt":490,"featured_media":76,"template":77,"meta":492,"categories":493,"tags":494,"text_type":495,"theme":496,"data":497,"_links":518},2935,"2024-07-09T10:25:23","2024-07-09T01:25:23",{"rendered":481},"https://contents.artplatform.go.jp/?post_type=text&p=2935","2024-07-09T13:47:19","2024-07-09T04:47:19","r202301","https://contents.artplatform.go.jp/text/r202301/",{"rendered":487},"マンホール画家北朝鮮に帰るの記",{"rendered":489,"protected":73},"本論考は、植民地朝鮮出身の画家である曺良奎(1928–?)が、1960年に北朝鮮に「帰国」するに際して、日本での活動を振り返ったものである。曺は1948年、李承晩政権下の韓国から日本に渡り、敗戦後の日本で過酷な生活を強いられる在日コリアンの現実を描いた絵画作品で知られる。このエッセイで語られているのは、植民地支配から解放されたにもかかわらず、依然として政治によって生活を脅かされる民衆のリアルな姿であり、そのなかで画家として表現することに対する、絶えざる自問自答だと言えよう。困窮と肉体労働のなかで曺が見い出した表現とは、祖国の危機を日本の大衆に訴えるリアリズムであった。「倉庫」や「マンホール」のシリーズで描くグロテスクなイメージこそ、目を背けてはならない現実に他ならないと曺は考えた。\u003Cbr> \r\n曺が語る戦後東アジアの現実は、左右のイデオロギー対立に還元されるものではない。彼は社会批判的な作品を制作しながらも、直接的な政治活動に参加するわけではなかった。そこにあるのは、芸術家として政治に関与すべきであるという強い意志である。曺は北朝鮮に渡ったのち、チェコスロヴァキアに留学したが、その後消息不明となった。東アジア情勢が目まぐるしく変化するのを目の当たりにしながら、そのなかで芸術家になしうる表現の探求に意識的であった画家の後年の活動がわからないままであるのは、戦後東アジア美術の大きな損失と言えるだろう。\r\n",{"rendered":491,"protected":73},"本論考は、植民地朝鮮出身の画家である曺良奎(1928–?)が、1960年に北朝鮮に「帰国」するに際して、日本での活動を振り返ったものである。曺は1948年、李承晩政権下の韓国から日本に渡り、敗戦後の日本で過酷な生活を強い […]",[],[],[],[82],[36],{"description_ja":85,"description_en":85,"title_en":498,"content_en":499,"author":500,"translator":501,"author_en":502,"translator_en":503,"text_file":504,"text_filesize":277,"first_published":505,"first_published_en":505,"year_translated":430,"year_translated_en":430,"editing":506,"editing_en":507,"design":98,"design_en":99,"theme":38,"theme_en":39,"copyright":508,"copyright_en":509,"citation":510,"citation_en":510,"original_japanese_edition":511,"original_japanese_edition_en":511,"ndl_link":512,"ndl_link_en":513,"isbn":77,"isbn_en":77,"title_for_list":514,"title_for_list_en":515,"related_artists":73,"related_works":73,"pdf":516,"pdf_filesize":517,"published_at":445,"updated_at":445},"The Manhole Artist: A record of going home to North Korea","In this essay, the artist Cho Yang Gyu (1928–?), who was born in colonial Korea, reflects on his activities in Japan ahead of his “repatriation” to North Korea in 1960. In 1948, Cho left South Korea, then under the Rhee Syngman regime, for Japan. He is known for his paintings depicting the reality of Zainichi Koreans forced to endure harsh living conditions in Japan after the end of World War II. Cho describes in his essay the real images of a people whose lives are still threatened by politics despite their liberation from colonial rule, as well as his constant questioning of his own artistic expression within this context. The form of expression Cho discovered amid poverty and manual labor was a realism that brought the crisis in his homeland to the attention of the Japanese people. Cho believed that the grotesque images depicted in his Warehouse and Manhole series were nothing other than a reality that one must not turn away from.\u003Cbr> \r\nThe reality of postwar East Asia that Cho describes cannot be reduced to an ideological binary of left and right. While he created socially critical works, he did not participate directly in political activism. Here, we can find a strong resolution that artists should be involved in politics. After Cho went to North Korea, he studied abroad in Czechoslovakia, but after that, his whereabouts are unknown. It is a great loss to postwar East Asian art that we still don’t know about the later activities of this painter who consciously explored the forms of expression available to the artist as he witnessed the situation in East Asia changing at a dizzying speed. \r\n","曹良奎","ジュリア・クラーク","Cho Yang Gyu","Julia Clark","https://contents.artplatform.go.jp/wp-content/uploads/2024/07/APJ_202301.jpg","1960","ヨンシャン・ガオ、高野真理子","Yung-Hsiang Kao, Takano Mariko","© 2023 National Center for Art Research, Japan\r\n\u003Cbr>\u003Cbr>\r\n当ウェブサイト (https://artplatform.go.jp) で公開している英訳文献は、教育・研究・批評・調査などの目的に限り、許諾の申請をすることなくご利用していただくことができます。ただし、英訳文献を有料で販売又は配信することを目的とした複製による利用はできません。利用の際は、\u003Ca href=\"https://artplatform.go.jp/ja/about/user-guide#index06\">英訳文献の利用規約\u003C/a>に従ってください。","© 2023 National Center for Art Research, Japan\r\n\u003Cbr>\u003Cbr>\r\nThe newly published English translations on this website (https://artplatform.go.jp) can be used without permission only for the purposes of education, research, critique, survey, and the like. English translations cannot be copied for the purpose of sale or distribution. You must comply with the \u003Ca href=\"/about/user-guide#index06\">Rules Governing the Use of the English Translations\u003C/a>.","Footnote/endnote: Cho Yang Gyu, \"The Manhole Artist: A record of going home to North Korea,\" trans. Julia Clark, National Art Research Center, Tokyo, posted July 9, 2024, artplatform.go.jp/resources/readings/R202301. \r\n\u003Cbr>\u003Cbr>\r\nBibliography: Cho Yang Gyu. \"The Manhole Artist: A record of going home to North Korea.\" Translated by Julia Clark. National Art Research Center, Tokyo. Posted July 9, 2024. artplatform.go.jp/resources/readings/R202301. ","Cho Yang Gyu. \"Manhōru gaka Kitachōsen ni kaeru no ki\". \u003Cem>Geijutsu Shinchō\u003C/em>, Vol. 11 No. 11 (November 1960): 182–190; reprinted in Kumagai Isako and others (eds.), \u003Cem>An Anthology of Japanese Art Criticism: 1955–1964\u003C/em> (Hiroshima: Geikasyoin, 2021).\r\n\u003Cbr>\u003Cbr>\r\n曺良奎「マンホール画家北朝鮮に帰るの記」『芸術新潮』11巻11号 (1960年11月): 182–190頁。再録 熊谷伊佐子 [ほか] 編著. 美術批評集成 : 一九五五–一九六四, 藝華書院, 2021.6.","初版: \u003Ca href=\"https://ndlsearch.ndl.go.jp/books/R100000002-I000000006547-d6048381\" target=\"_blank\">https://ndlsearch.ndl.go.jp/books/R100000002-I000000006547-d6048381\u003C/a>\u003Cbr/>\r\n再録: \u003Ca href=\"https://ndlsearch.ndl.go.jp/books/R100000002-I031536938\" target=\"_blank\">https://ndlsearch.ndl.go.jp/books/R100000002-I031536938\u003C/a>\u003Cbr/>","First printed: \u003Ca href=\"https://ndlsearch.ndl.go.jp/en/books/R100000002-I000000006547-d6048381\" target=\"_blank\">https://ndlsearch.ndl.go.jp/en/books/R100000002-I000000006547-d6048381\u003C/a>\u003Cbr/>\r\nReprinted: \u003Ca href=\"https://ndlsearch.ndl.go.jp/en/books/R100000002-I031536938\" target=\"_blank\">https://ndlsearch.ndl.go.jp/en/books/R100000002-I031536938\u003C/a>\u003Cbr/>","マンホール画家北朝鮮に帰るの記 (1960)","The Manhole Artist: A Record of Going Home to North Korea (1960)","https://contents.artplatform.go.jp/wp-content/uploads/2024/07/APJ_202301_ChoB.pdf",3.1,{"self":519,"collection":522,"about":524,"version-history":526,"predecessor-version":529,"wp:attachment":533,"wp:term":536,"curies":545},[520],{"href":521},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2935",[523],{"href":118},[525],{"href":121},[527],{"count":306,"href":528},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2935/revisions",[530],{"id":531,"href":532},2984,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2935/revisions/2984",[534],{"href":535},"https://contents.artplatform.go.jp/wp-json/wp/v2/media?parent=2935",[537,539,541,543],{"taxonomy":135,"embeddable":136,"href":538},"https://contents.artplatform.go.jp/wp-json/wp/v2/categories?post=2935",{"taxonomy":139,"embeddable":136,"href":540},"https://contents.artplatform.go.jp/wp-json/wp/v2/tags?post=2935",{"taxonomy":142,"embeddable":136,"href":542},"https://contents.artplatform.go.jp/wp-json/wp/v2/text_type?post=2935",{"taxonomy":145,"embeddable":136,"href":544},"https://contents.artplatform.go.jp/wp-json/wp/v2/theme?post=2935",[546],{"name":149,"href":150,"templated":136},{"id":548,"date":549,"date_gmt":550,"guid":551,"modified":553,"modified_gmt":554,"slug":555,"status":66,"type":67,"link":556,"title":557,"content":559,"excerpt":561,"featured_media":76,"template":77,"meta":563,"categories":564,"tags":565,"text_type":566,"theme":567,"data":568,"_links":589},2020,"2022-12-12T23:32:48","2022-12-12T14:32:48",{"rendered":552},"https://contents.artplatform.go.jp/?post_type=text&p=2020","2023-03-31T01:47:31","2023-03-30T16:47:31","r202210","https://contents.artplatform.go.jp/text/r202210/",{"rendered":558},"公募団体は無用か",{"rendered":560,"protected":73},"美術評論家の瀧口修造による、「公募団体は無用か」と題された本論考は、1961年9月20日の読売新聞(夕刊)の文化面に掲載された。タイトルの通り、本論考は、会員や会友になること、あるいは公募展への出品料を支払うことで芸術家に作品を公開する機会を提供し、それによって組織を運営する公募団体の是非を論じている。論考内でも言及されているが、この時期にスター作家の岡本太郎が、有力な美術団体のひとつである二科会を脱退したことで、美術団体や公募団体のあり方や意義について、様々な立場からの議論が紛糾した(なお、瀧口は、本論考で、美術団体と公募団体を注意深く区別している)。\u003Cbr> \r\n\r\nその副題に「欧米の画家のあり方と関連して」とあるように、欧米において公募団体に相当するサロンや団体展の現状とも比較しながら論が組み立てられていることに、本論考の特色がある。加えて、公募団体の存在に対して肯定的であれ、否定的であれ、多くの論が結論ありきのものであったのに比べ、瀧口論考は、戦後に公募団体が芸術家の相互扶助組織として機能していたことや、部分的に画壇の民主化に寄与した側面があることも明示しながら、その問題点を客観的に分析している点で傑出している。\u003Cbr> \r\n\r\n現代美術の市場が拡大し、ますます芸術が「商品」として扱われる傾向が目立つようになった当時、瀧口は安易な「公募団体無用論」とは距離をとり、資本主義のなかにおける美術団体の新しいあり方を熟慮することの必要性を指摘している。 ",{"rendered":562,"protected":73},"美術評論家の瀧口修造による、「公募団体は無用か」と題された本論考は、1961年9月20日の読売新聞(夕刊)の文化面に掲載された。タイトルの通り、本論考は、会員や会友になること、あるいは公募展への出品料を支払うことで芸術家 […]",[],[],[],[82],[16],{"description_ja":85,"description_en":85,"title_en":569,"content_en":570,"author":571,"translator":351,"author_en":572,"translator_en":353,"text_file":573,"text_filesize":574,"first_published":575,"first_published_en":575,"year_translated":95,"year_translated_en":95,"editing":576,"editing_en":577,"design":98,"design_en":99,"theme":18,"theme_en":19,"copyright":578,"copyright_en":579,"citation":580,"citation_en":580,"original_japanese_edition":581,"original_japanese_edition_en":582,"ndl_link":77,"ndl_link_en":77,"isbn":77,"isbn_en":77,"title_for_list":583,"title_for_list_en":584,"related_artists":585,"related_works":73,"pdf":588,"pdf_filesize":110,"published_at":111,"updated_at":111},"Are Open-Call Exhibitions Useless?: A comparison with the situation of artists in Europe and North America","This article by art critic Takiguchi Shūzō, entitled “Are Open-Call Exhibitions Useless?,” was printed in the Arts and Culture section of the Yomiuri Shimbun (evening edition) on September 20, 1961. As the title indicates, this article discusses the pros and cons of open-call art associations that operate organizationally by offering artists opportunities to publicly exhibit work when they become members or affiliates, or else pay an open-call exhibitor fee. It’s mentioned in Takiguchi’s article as well, but around this time, the star artist Okamoto Tarō seceded from one of the powerful artist societies—the Nika Association (Nikakai, or Second Section Association)—and debates from various standpoints about the state and significance of artist societies and art associations became confusedly entangled (still, in this article Takiguchi takes great care to distinguish artist societies from open-call art associations).\u003Cbr>\r\n\r\n \r\n\r\nAs the subtitle “A comparison with the situation of artists in Europe and North America” suggests, the distinct character of this article lies in how the argument is constructed through a comparison with the situation of Euro-American salons and exhibition groups that roughly correspond to Japanese art associations. Additionally, whether negative or positive toward the existence of art associations, many of the arguments by other critics draw hasty conclusions. In comparison, Takiguchi’s article stands out for how it objectively analyzes the problematic points of open-call art associations while also noting how, in the postwar, these organizations partially contributed to the democratization of \u003Cem>gadan\u003C/em> (art establishment) and functioned as mutual aid organizations for artists.\u003Cbr> \r\n\r\n \r\n\r\nAt a time when the contemporary art market was expanding and a growing tendency to treat art as a “commodity” had become evident, Takiguchi kept his distance from any easy “Statement on the Uselessness of Open-Call Exhibitions,” pointing out the necessity of deliberating on the new significance of artist societies under capitalist conditions. ","瀧口修造","Takiguchi Shūzō","https://contents.artplatform.go.jp/wp-content/uploads/2022/12/APJ222210.jpg","90 KB","1961","松井勝正、松山直希","Matsui Katsumasa, Naoki Matsuyama","© 2022 Kawamura Mayumi + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\n当ウェブサイト (https://artplatform.go.jp) で公開している英訳文献は、教育・研究・批評・調査などの目的に限り、許諾の申請をすることなくご利用していただくことができます。ただし、英訳文献を有料で販売又は配信することを目的とした複製による利用はできません。利用の際は、\u003Ca href=\"https://artplatform.go.jp/ja/about/user-guide#index06\">英訳文献の利用規約\u003C/a>に従ってください。","© 2022 Kawamura Mayumi + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\nThe newly published English translations on this website (https://artplatform.go.jp) can be used without permission only for the purposes of education, research, critique, survey, and the like. English translations cannot be copied for the purpose of sale or distribution. You must comply with the \u003Ca href=\"/about/user-guide#index06\">Rules Governing the Use of the English Translations\u003C/a>.","Footnote/endnote: Takiguchi Shūzō, \"Are Open-Call Exhibitions Useless?: A comparison with the situation of artists in Europe and North America,\" trans. Ignacio Adriasola, Bunka-cho Art Platform Japan, posted December 12, 2022, artplatform.go.jp/readings/R202210.\r\n\u003Cbr>\u003Cbr>\r\nBibliography: Takiguchi Shūzō. \"Are Open-Call Exhibitions Useless?: A comparison with the situation of artists in Europe and North America.\" Translated by Ignacio Adriasola. Bunka-cho Art Platform Japan. Posted December 12, 2022. artplatform.go.jp/readings/R202210.","瀧口修造「公募団体は無用か」、読売新聞、1961年9月20日夕刊。\r\n\u003Cbr>\u003Cbr>\r\nTakiguchi Shūzō, \"Kōbo dantai wa muyō ka” in \u003Cem>Yomiuri Shimbun\u003C/em>, September 20, 1961, evening edition. ","Takiguchi Shūzō, \"Kōbo dantai wa muyō ka” in \u003Cem>Yomiuri Shimbun\u003C/em>, September 20, 1961, evening edition. \r\n\u003Cbr>\u003Cbr>\r\n瀧口修造「公募団体は無用か」、読売新聞、1961年9月20日夕刊。","公募団体は無用か (1961)","Are Open-Call Exhibitions Useless?: A comparison with the situation of artists in Europe and North America (1961)",[586],{"related_artist_id":587,"related_artist_label":571},"A1564","https://contents.artplatform.go.jp/wp-content/uploads/2022/12/APJ_222210_Takiguchi1961.pdf",{"self":590,"collection":593,"about":595,"version-history":597,"predecessor-version":600,"wp:attachment":604,"wp:term":607,"curies":616},[591],{"href":592},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2020",[594],{"href":118},[596],{"href":121},[598],{"count":228,"href":599},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2020/revisions",[601],{"id":602,"href":603},2497,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2020/revisions/2497",[605],{"href":606},"https://contents.artplatform.go.jp/wp-json/wp/v2/media?parent=2020",[608,610,612,614],{"taxonomy":135,"embeddable":136,"href":609},"https://contents.artplatform.go.jp/wp-json/wp/v2/categories?post=2020",{"taxonomy":139,"embeddable":136,"href":611},"https://contents.artplatform.go.jp/wp-json/wp/v2/tags?post=2020",{"taxonomy":142,"embeddable":136,"href":613},"https://contents.artplatform.go.jp/wp-json/wp/v2/text_type?post=2020",{"taxonomy":145,"embeddable":136,"href":615},"https://contents.artplatform.go.jp/wp-json/wp/v2/theme?post=2020",[617],{"name":149,"href":150,"templated":136},{"id":619,"date":620,"date_gmt":621,"guid":622,"modified":624,"modified_gmt":625,"slug":626,"status":66,"type":67,"link":627,"title":628,"content":630,"excerpt":632,"featured_media":76,"template":77,"meta":634,"categories":635,"tags":636,"text_type":637,"theme":638,"data":639,"_links":665},2066,"2023-02-09T22:02:20","2023-02-09T13:02:20",{"rendered":623},"https://contents.artplatform.go.jp/?post_type=text&p=2066","2023-03-30T17:02:32","2023-03-30T08:02:32","r202219","https://contents.artplatform.go.jp/text/r202219/",{"rendered":629},"記号としての写真",{"rendered":631,"protected":73},"著者の名取洋之助は1910年生まれの写真家。戦前にはドイツ・ベルリンに遊学し、そこでバウハウスのデザイン思想にも触れている。戦後、名取はテーマ別に写真を集めた「岩波写真文庫」の編集に尽力し、編集者としても辣腕を振るった。彼は日本における報道写真の発展に貢献し、日本写真史に欠かせない重要な足跡を残した。彼の名を冠した写真賞は、2022年現在でも継続され、若手写真家の登竜門となっている。\u003Cbr> \r\n\r\n1930年代に名取が中心となって立ち上げた「日本工房」は、1934年にグラフ誌『NIPPON』創刊している。終戦直前の1944年まで刊行されたこの雑誌は、英語やドイツ語を含む複数の言語で書かれており、日本の内閣情報部から支援を受け、国策的なプロパガンダのための雑誌という性格が色濃かった。\u003Cbr> \r\n\r\n「記号としての写真」と題された本論考では、「組写真」という写真の種類について論じられている。名取の説明する「組写真」は、それを見た人に、カメラマンや編集者の意図したように読ませる技術を基盤としており、戦後に発表されたこの文章には、戦時中にプロパガンダに関与した彼自身の経験が反映されていると考えられる。\u003Cbr> \r\n\r\nこの文章は、1963年に岩波新書の一冊として出版された名取の単著『写真の読みかた』からの抜粋であり、「写真の読みかた」と題された第一章の第三節を構成するものである。 ",{"rendered":633,"protected":73},"著者の名取洋之助は1910年生まれの写真家。戦前にはドイツ・ベルリンに遊学し、そこでバウハウスのデザイン思想にも触れている。戦後、名取はテーマ別に写真を集めた「岩波写真文庫」の編集に尽力し、編集者としても辣腕を振るった。 […]",[],[],[],[82],[46],{"description_ja":85,"description_en":85,"title_en":640,"content_en":641,"author":642,"translator":643,"author_en":644,"translator_en":645,"text_file":646,"text_filesize":277,"first_published":647,"first_published_en":647,"year_translated":95,"year_translated_en":95,"editing":648,"editing_en":649,"design":98,"design_en":99,"theme":48,"theme_en":49,"copyright":650,"copyright_en":651,"citation":652,"citation_en":652,"original_japanese_edition":653,"original_japanese_edition_en":654,"ndl_link":655,"ndl_link_en":655,"isbn":656,"isbn_en":656,"title_for_list":657,"title_for_list_en":658,"related_artists":659,"related_works":73,"pdf":662,"pdf_filesize":663,"published_at":664,"updated_at":664},"Photograph-as-Sign","As a young man, photographer Natori Yōnosuke (1910–1962) traveled to Germany, where he encountered Bauhaus design as a keen student and observer in Weimar Berlin. After the war, he returned to Japan and demonstrated his editorial flair at the helm of Iwanami Shashin Bunko, a “photo library” that would fill 286 volumes, each organized around a particular theme, between 1950 and 1958. As a photographer, Natori left an indelible mark in the annals of Japanese photography history for his contributions to the development of photojournalism in Japan. To this day, a prize named in his honor, the Natori Yōnosuke Photo Award, remains an important springboard for the nation’s young photographers. \u003Cbr>\r\n\r\n \r\n\r\nIn the 1930s, Natori was also a founding member of the group Nihon Kōbō and launched the magazine \u003Ci>Nippon\u003C/i> in 1934. Active until 1944, the magazine published articles in multiple languages, promoting the propagandic interests of the Cabinet Intelligence and Research Office.\u003Cbr> \r\n\r\n \r\n\r\nIn this text, Natori examines the myriad ways in which photo essay [kumi shashin] techniques can inform the viewer’s reading of “photograph-as-sign.” Drawing on his own experiences as a wartime propagandist, Natori evinces how our understanding of photographs hinges on their selection and arrangement—decisions made by photographers and editors, variously in an attempt to bring clarity, or to control the narrative.\u003Cbr> \r\n\r\n \r\n\r\nThis text has been excerpted from the first chapter of Shashin no yomikata (‘How to read photographs’), a monograph originally published by Iwanami Shinsho in 1963. \r\n\r\n ","名取洋之助","馬渕花菜子","Natori Yōnosuke","Mabuchi Kanako","https://contents.artplatform.go.jp/wp-content/uploads/2023/01/APJ_202219.jpg","1963","調文明、マイク・フー","Mike Fu, Shirabe Bunmei","© 2022 Natori Miwa + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\n当ウェブサイト (https://artplatform.go.jp) で公開している英訳文献は、教育・研究・批評・調査などの目的に限り、許諾の申請をすることなくご利用していただくことができます。ただし、英訳文献を有料で販売又は配信することを目的とした複製による利用はできません。利用の際は、\u003Ca href=\"https://artplatform.go.jp/ja/about/user-guide#index06\">英訳文献の利用規約\u003C/a>に従ってください。","© 2022 Natori Miwa + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\nThe newly published English translations on this website (https://artplatform.go.jp) can be used without permission only for the purposes of education, research, critique, survey, and the like. English translations cannot be copied for the purpose of sale or distribution. You must comply with the \u003Ca href=\"/about/user-guide#index06\">Rules Governing the Use of the English Translations\u003C/a>.","Footnote/endnote: Natori Yonosuke, \"Photograph-as-Sign,\" trans. Kanako Mabuchi, Bunka-cho Art Platform Japan, posted February 9, 2023, artplatform.go.jp/readings/R202219. \r\n\u003Cbr>\u003Cbr>\r\nBibliography: Natori Yonosuke. \"Photograph-as-Sign.\" Translated by Kanako Mabuchi. Bunka-cho Art Platform Japan. Posted February 9, 2023. artplatform.go.jp/readings/R202219.","名取洋之助「記号としての写真」『写真の読みかた』岩波新書、1963年、46–73頁。\r\n\u003Cbr>\u003Cbr>\r\nNatori Yonosuke “Kigō to shite no shashin” in Shashin no yomikata (Tokyo: Iwanami Shinsho, 1963), 46–73. \r\n","Natori Yonosuke “Kigō to shite no shashin” in Shashin no yomikata (Tokyo: Iwanami Shinsho, 1963), 46–73. \r\n\u003Cbr>\u003Cbr>\r\n名取洋之助「記号としての写真」『写真の読みかた』岩波新書、1963年、46–73頁。\r\n","\u003Ca href=\"https://iss.ndl.go.jp/books/R100000039-I000728523-00\" target=\"_blank\">https://iss.ndl.go.jp/books/R100000039-I000728523-00\u003C/a>","978-4004140818","記号としての写真 (1963)","Photograph-as-Sign (1963)",[660],{"related_artist_id":661,"related_artist_label":642},"A1725","https://contents.artplatform.go.jp/wp-content/uploads/2023/01/APJ_202219_Natori1963.pdf",3,"2023-02-09",{"self":666,"collection":669,"about":671,"version-history":673,"predecessor-version":676,"wp:attachment":680,"wp:term":683,"curies":692},[667],{"href":668},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2066",[670],{"href":118},[672],{"href":121},[674],{"count":306,"href":675},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2066/revisions",[677],{"id":678,"href":679},2454,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/2066/revisions/2454",[681],{"href":682},"https://contents.artplatform.go.jp/wp-json/wp/v2/media?parent=2066",[684,686,688,690],{"taxonomy":135,"embeddable":136,"href":685},"https://contents.artplatform.go.jp/wp-json/wp/v2/categories?post=2066",{"taxonomy":139,"embeddable":136,"href":687},"https://contents.artplatform.go.jp/wp-json/wp/v2/tags?post=2066",{"taxonomy":142,"embeddable":136,"href":689},"https://contents.artplatform.go.jp/wp-json/wp/v2/text_type?post=2066",{"taxonomy":145,"embeddable":136,"href":691},"https://contents.artplatform.go.jp/wp-json/wp/v2/theme?post=2066",[693],{"name":149,"href":150,"templated":136},{"id":695,"date":696,"date_gmt":697,"guid":698,"modified":700,"modified_gmt":701,"slug":702,"status":66,"type":67,"link":703,"title":704,"content":706,"excerpt":708,"featured_media":76,"template":77,"meta":710,"categories":711,"tags":712,"text_type":713,"theme":714,"data":715,"_links":736},780,"2021-03-09T18:04:40","2021-03-09T09:04:40",{"rendered":699},"https://contents.artplatform.go.jp/?post_type=text&p=780","2023-03-31T14:54:55","2023-03-31T05:54:55","r202004","https://contents.artplatform.go.jp/text/r202004/",{"rendered":705},"さようなら読売アンデパンダン展",{"rendered":707,"protected":73}," \r\n\r\n本論考は、美術批評家の東野芳明(1930–2005)が読売アンデパンダン展の中止を受けて執筆し、『美術手帖』の1964年4月号に掲載されたものである。この号には、同じくアンデパンダン展中止を踏まえて書かれた針生一郎による「アンデパンダン展将来のために―二つの提案」や、同時代の美術動向を批判的に総括する宮川淳による「反芸術―その日常性への下降」なども掲載されている。\u003Cbr> \r\n\r\n本論考の主題となっている読売アンデパンダン展は、1949年から読売新聞社が主催した展覧会である。当時、美術作品発表の中心は公募団体展であったが、無審査・無賞を掲げた本展覧会は、前衛的な傾向を持つ若手作家の関心を集め、彼らの作品発表の中心的な場となり、その表現は徐々に先鋭化していった。例えば、1960年の展覧会に出品された工藤哲巳の作品は、東野によって読売新聞の展評で「ガラクタの反芸術」という言葉で評された。先鋭化する傾向に対して1962年12月には、会場であった東京都美術館が「都美陳列作品規格基準要綱」を制定するに至り、「反芸術」的傾向を持つ作品群に対する規制が強まった。こうした経緯もあり、1964年の展覧会は中止となり、読売アンデパンダン展は第15回展で終了することとなった。\u003Cbr> \r\n\r\n東野は本論考の前半部で、読売アンデパンダン展が戦後の美術界に与えた影響の大きさや熱気を回顧し、後半では焦点を東京都美術館の規定にあてる。東野によると、日本の美術界では出品規定を巡って原理的な表現の自由の擁護はあるが、芸術論が交わされていないという。東野は、マルセル・デュシャンが1917年に男性用便器を《泉(噴水)》と題してニューヨークのアンデパンダン展に出品したことを引き合いに出しながら、この行為を芸術論でもあり表現の自由の擁護でもあると高く評価する。その上で、アンデパンダン展中止を巡る世代間の反応の違いや、美術界のディスコミュニケーションを指摘して論を終える。 ",{"rendered":709,"protected":73},"本論考は、美術批評家の東野芳明(1930–2005)が読売アンデパンダン展の中止を受けて執筆し、『美術手帖』の1964年4月号に掲載されたものである。この号には、同じくアンデパンダン展中止を踏まえて書かれた針生一郎による […]",[],[],[],[82],[21,26],{"description_ja":85,"description_en":85,"title_en":716,"content_en":717,"author":425,"translator":718,"author_en":426,"translator_en":719,"text_file":720,"text_filesize":721,"first_published":722,"first_published_en":722,"year_translated":182,"year_translated_en":182,"editing":723,"editing_en":724,"design":98,"design_en":99,"theme":28,"theme_en":29,"copyright":725,"copyright_en":726,"citation":727,"citation_en":727,"original_japanese_edition":728,"original_japanese_edition_en":729,"ndl_link":730,"ndl_link_en":730,"isbn":77,"isbn_en":77,"title_for_list":731,"title_for_list_en":732,"related_artists":73,"related_works":73,"pdf":733,"pdf_filesize":734,"published_at":735,"updated_at":735},"Sayonara, Yomiuri Independent","This article was written by the art critic Tōno Yoshiaki (1930–2005) upon the discontinuation of the Yomiuri Independent Exhibition and published in the April 1964 issue of \u003Cem>Bijutsu techo\u003C/em>. This issue also carried articles by Hariu Ichirō—“For the Future of the Independent Exhibition: Two Proposals (Andepandanten shōrai no tame ni—futatsu no teian),” which was also about the discontinuation of the Yomiuri exhibition—and Miyakawa Atsushi—“Anti-Art: Its Descent into Ordinariness (Hangeijutsu—sono nichijōsei e no kakō),” a critical summary of contemporary art trends. \u003Cbr> \r\n\r\nThe Yomiuri Independent Exhibition, which is the subject of this article, was an art exhibition that had been sponsored by the Yomiuri Shimbun Co. since 1949. At that time, the principle means of presenting one’s art was through public group exhibitions, and this non-juried, no-prize exhibition captured the attention of young artists with avant-garde tendencies, becoming the primary venue for their work, which gradually became more radical in its expression. For example, a work exhibited by Kudō Tetsumi at the 1960 exhibition was referred to by Tōno in his Yomiuri Shimbun exhibition review as “junk anti-art (garakuta no hangeijutsu).” In response to this radicalizing trend, the Tokyo Metropolitan Art Museum—which was the venue for the exhibition—established “The Guidelines for Specifications of Works to be Displayed at the Tokyo Metropolitan Art Museum (Tobi chinretsu sakuhin kikaku kijun yōkō),” which strengthened the regulation of works with “anti-art” tendencies. Due to these circumstances, the 1964 exhibition was cancelled, and the Yomiuri Independent Exhibition ended with its 15th iteration. \u003Cbr> \r\n\r\nIn the first half of the article, Tōno looks back on the tremendous influence and passion that the Yomiuri Independent Exhibition brought to bear on the postwar art world. In the second half, he focuses on the rules established by the Tokyo Metropolitan Art Museum. According to Tōno, while there is a principled defense of freedom of expression with regard to exhibition regulations in the Japanese art world, there is no exchange of art theory. Tōno cites Marcel Duchamp’s submission of a men’s urinal titled Fountain to the New York Independent in 1917, praising the act as both the development of a theory of art and a defense of freedom of expression. He concludes by pointing out the generational differences in reaction to the cessation of the Independent Exhibition and identifying the problem of discommunication in the art world. ","アンドリュー・マークル","Andrew Maerkle","https://contents.artplatform.go.jp/wp-content/uploads/2021/03/APJ_202004_thumb.jpg","780 KB","1964","上崎千、ウィリアム・マロッティ","William Marotti, Uesaki Sen","© 2021 Tōno Yoshiaki + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\n当ウェブサイト (https://artplatform.go.jp) で公開している英訳文献は、教育・研究・批評・調査などの目的に限り、許諾の申請をすることなくご利用していただくことができます。ただし、英訳文献を有料で販売又は配信することを目的とした複製による利用はできません。利用の際は、\u003Ca href=\"https://artplatform.go.jp/ja/about/user-guide#index06\">英訳文献の利用規約\u003C/a>に従ってください。","© 2021 Tōno Yoshiaki + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\nThe \"Readings\" or the newly published English translations on this website (https://artplatform.go.jp) can be used without permission only for the purposes of education, research, critique, survey, and the like. English translations cannot be copied for the purpose of sale or distribution. You must comply with the \u003Ca href=\"/about/user-guide#index06\">Rules Governing the Use of the English Translations\u003C/a>.","Footnote/endnote: Tōno Yoshiaki, \"Yomiuri Independent,\" trans. Andrew Maerkle, Bunka-cho Art Platform Japan, posted March 15, 2021, artplatform.go.jp/readings/R202004. \r\n\u003Cbr>\u003Cbr>\r\nBibliography: Tōno Yoshiaki. \"Yomiuri Independent.\" Translated by Andrew Maerkle. Bunka-cho Art Platform Japan. Posted March 15, 2021. artplatform.go.jp/readings/R202004. ","東野芳明「さようなら読売アンデパンダン展 」、『美術手帖』234号(1964年4月)、11–14頁。\r\n\u003Cbr>\u003Cbr>\r\nTōno Yoshiaki, “Sayōnara Yomiuri andepandan ten,” \u003Cem>Bijutsu techo\u003C/em>, no. 234 (April 1964): 11–14.","Tōno Yoshiaki, “Sayōnara Yomiuri andepandan ten,” \u003Cem>Bijutsu techo\u003C/em>, no. 234 (April 1964): 11–14.\r\n\u003Cbr>\u003Cbr>\r\n東野芳明「さようなら読売アンデパンダン展 」、『美術手帖』234号(1964年4月)、11–14頁。","\u003Ca href=\"https://id.ndl.go.jp/bib/762831\" target=\"_blank\">https://id.ndl.go.jp/bib/762831\u003C/a>\u003Cbr/>","さようなら読売アンデパンダン展 (1964)","Sayonara, Yomiuri Independent (1964)","https://contents.artplatform.go.jp/wp-content/uploads/2021/03/APJ_202004_Tono1964.pdf",0.8,"2021-03-15",{"self":737,"collection":740,"about":742,"version-history":744,"predecessor-version":748,"wp:attachment":752,"wp:term":755,"curies":764},[738],{"href":739},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/780",[741],{"href":118},[743],{"href":121},[745],{"count":746,"href":747},15,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/780/revisions",[749],{"id":750,"href":751},2586,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/780/revisions/2586",[753],{"href":754},"https://contents.artplatform.go.jp/wp-json/wp/v2/media?parent=780",[756,758,760,762],{"taxonomy":135,"embeddable":136,"href":757},"https://contents.artplatform.go.jp/wp-json/wp/v2/categories?post=780",{"taxonomy":139,"embeddable":136,"href":759},"https://contents.artplatform.go.jp/wp-json/wp/v2/tags?post=780",{"taxonomy":142,"embeddable":136,"href":761},"https://contents.artplatform.go.jp/wp-json/wp/v2/text_type?post=780",{"taxonomy":145,"embeddable":136,"href":763},"https://contents.artplatform.go.jp/wp-json/wp/v2/theme?post=780",[765],{"name":149,"href":150,"templated":136},{"id":767,"date":768,"date_gmt":769,"guid":770,"modified":772,"modified_gmt":773,"slug":774,"status":66,"type":67,"link":775,"title":776,"content":778,"excerpt":780,"featured_media":76,"template":77,"meta":782,"categories":783,"tags":784,"text_type":785,"theme":786,"data":787,"_links":814},836,"2021-03-14T13:53:28","2021-03-14T04:53:28",{"rendered":771},"https://contents.artplatform.go.jp/?post_type=text&p=836","2023-03-31T14:22:05","2023-03-31T05:22:05","r202008","https://contents.artplatform.go.jp/text/r202008/",{"rendered":777},"”資本主義リアリズム”論",{"rendered":779,"protected":73}," 美術家・作家の赤瀬川原平(1937-2014)が1964年2月に日本読書新聞に発表した文章である。赤瀬川は1963年2月の個展「あいまいな海について」の開催に際して、千円札の表面を印刷した紙を案内状に用い、以後、千円札をモチーフとした作品を発表していた。1964年1月に、当時全国的な話題となっていたニセ札事件に関与していると嫌疑をかけられ事情聴取を受け、新聞報道されていた。赤瀬川は、本稿で初めて、千円札を印刷した自らの意図を明らかにし、ニセ札ではなく千円札の模型であると述べた。 \u003Cbr>\r\n\r\n 赤瀬川によれば、紙幣に似せた「模型」である自らの作品は、「本物」の正統性を揺るがせるものであり、その正統性を前提とする貨幣制度、さらに私有財産制度をも批判的に観察せしめるという。赤瀬川は、ニセ札が本物の紙幣になり代わろうとするのとは異なり、自分の「千円札」は紙幣の機能を剥ぎ取られた「模型」であり「無用の長物」にすぎないと述べる。しかし、「本物」はこうした「模型」と対比されることで、かえって自己の正統性を主張する必要に迫られることになる。逆説的に言えば、こうした「模型」や「ニセ物」の否定に、「本物」の正統性は依存しているのである。赤瀬川は、千円札を正確に200倍に拡大コピーした《復讐の形態学(殺す前に相手をよく見る)》(1963年)について、「まったく感情を交えずに写しとるこの絵画は、糞リアリズムであり、社会主義リアリズムではなく資本主義リアリズムといえる」と述べ、「世界の積極的観察者」であることの批評的な意義を指摘している。 \u003Cbr>\r\n\r\n 本稿は、1970年に刊行された『赤瀬川原平の文章 オブジェを持った無産者』に再録された。 ",{"rendered":781,"protected":73}," 美術家・作家の赤瀬川原平(1937-2014)が1964年2月に日本読書新聞に発表した文章である。赤瀬川は1963年2月の個展「あいまいな海について」の開催に際して、千円札の表面を印刷した紙を案内状に用い、以後、千円札 […]",[],[],[],[82],[51],{"description_ja":85,"description_en":85,"title_en":788,"content_en":789,"author":790,"translator":791,"author_en":792,"translator_en":793,"text_file":794,"text_filesize":795,"first_published":722,"first_published_en":722,"year_translated":182,"year_translated_en":182,"editing":796,"editing_en":797,"design":98,"design_en":99,"theme":53,"theme_en":54,"copyright":798,"copyright_en":799,"citation":800,"citation_en":801,"original_japanese_edition":802,"original_japanese_edition_en":803,"ndl_link":804,"ndl_link_en":805,"isbn":806,"isbn_en":807,"title_for_list":808,"title_for_list_en":809,"related_artists":810,"related_works":73,"pdf":813,"pdf_filesize":110,"published_at":735,"updated_at":735},"Theses on \"Capitalist Realism\"","This is an article published in the \u003Cem>Nihon Dokusho Shimbun\u003C/em> in February 1964 by artist and author Akasegawa Genpei (1937–2014). On the occasion of his February 1963 solo exhibition, \u003Cem>On the Ambiguous Ocean\u003C/em>, Akasegawa used paper featuring a reproduction of a 1000-yen note on one side for his invitations and has since exhibited works using the motif of the 1000-yen note. In January 1964, he was questioned on suspicion of being involved in the \u003Cem>Chi-37\u003C/em> counterfeiting scandal, a national story at the time, and this was reported in the newspapers. In this article, Akasegawa for the first time clarified his intentions regarding his printing of a 1000-yen note, asserting that it was not a counterfeit (\u003Cem>nisesatsu\u003C/em>) but a model (\u003Cem>mokei\u003C/em>). \u003Cbr>\r\n\u003Cbr>\r\n\r\nAccording to Akasegawa, his work, which was a “model” in imitation of a bank note, undermines the legitimacy of the “real thing (\u003Cem>honmono\u003C/em>)” and forces us to take a critical view of the monetary system, as well as the private ownership system, that is predicated on that legitimacy. Akasegawa argues that, unlike the counterfeit currency that tries to replace real currency, his “1,000-yen note,” is nothing more than a “model” stripped of its function—a “useless white elephant.” However, the “real thing” is contrasted with the “model,” which in turn forces it to assert its own legitimacy. Paradoxically, the legitimacy of the “real thing” depends upon a denial of the “models” and the “fakes (\u003Cem>nisemono\u003C/em>).” Regarding his piece \u003Cem>Morphology of Revenge: Look Closely at the Adversary Before Killing Him\u003C/em> (\u003Cem>Fukushū no keitaigaku: Korosu mae ni aite o yoku miru\u003C/em>), in which Akasegawa enlarged a 1,000-yen note to 200-times its size, he notes that “this painting, which I copied down utterly without adding sentiment of any sort, was shit realism—not Socialist Realism, but what we may call Capitalist Realism” and points out the critical significance of being an “active onlooker of the world.” \u003Cbr>\r\n\u003Cbr>\r\n\r\nThis article was reprinted in \u003Cem>Akasegawa Genpei no bunshō: Obuje o motta musansha\u003C/em>, which was originally published in 1970. ","赤瀬川原平","ウィリアム・マロッティ","Akasegawa Genpei","William Marotti","https://contents.artplatform.go.jp/wp-content/uploads/2021/03/APJ_202008_thumb.jpg","99 KB","上崎千、アンドリュー・マークル","Andrew Maerkle, Uesaki Sen","© 2021 Akasegawa Genpei + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\n当ウェブサイト (https://artplatform.go.jp) で公開している英訳文献は、教育・研究・批評・調査などの目的に限り、許諾の申請をすることなくご利用していただくことができます。ただし、英訳文献を有料で販売又は配信することを目的とした複製による利用はできません。利用の際は、\u003Ca href=\"https://artplatform.go.jp/ja/about/user-guide#index06\">英訳文献の利用規約\u003C/a>に従ってください。","© 2021 Akasegawa Genpei + Bunka-cho Art Platform Japan\r\n\u003Cbr>\u003Cbr>\r\nThe \"Readings\" or the newly published English translations on this website (https://artplatform.go.jp) can be used without permission only for the purposes of education, research, critique, survey, and the like. English translations cannot be copied for the purpose of sale or distribution. You must comply with the \u003Ca href=\"/about/user-guide#index06\">Rules Governing the Use of the English Translations\u003C/a>.","Footnote/endnote: Akasegawa Genpei, \"Theses on 'Capitalist Realism,'\" trans. William Marotti, Bunka-cho Art Platform Japan, posted March 15, 2021, artplatform.go.jp/readings/R202008. \r\n\u003Cbr>\u003Cbr>\r\nBibliography: Akasegawa Genpei. \"Theses on 'Capitalist Realism.'\" Translated by William Marotti. Bunka-cho Art Platform Japan. Posted March 15, 2021. artplatform.go.jp/readings/R202008. ","Footnote/endnote: Akasegawa Genpei, \"Theses on ‛Capitalist Realism,’\" trans. William Marotti, Bunka-cho Art Platform Japan, posted March 15, 2021, artplatform.go.jp/readings/R202008. \r\n\u003Cbr>\u003Cbr>\r\nBibliography: Akasegawa Genpei. \"Theses on 'Capitalist Realism.'\" Translated by William Marotti. Bunka-cho Art Platform Japan. Posted March 15, 2021. artplatform.go.jp/readings/R202008. ","赤瀬川原平「”資本主義リアリズム”論」、『日本読書新聞』1246号(1964年2月24日)。赤瀬川原平『オブジェを持った無産者 : 赤瀬川原平の文章』現代思潮社、1970年、25–32頁。復刻版:赤瀬川原平『オブジェを持った無産者 : 赤瀬川原平の文章』河出書房新社 、2015年、29–36頁。\r\n\u003Cbr>\u003Cbr>\r\nAkasegawa Genpei, “‘Shihon shugi riarizumu’ ron,” \u003Cem>Nihon dokusho shimbun\u003C/em>, no. 1246 (February 24, 1964); reprinted in Akasegawa Genpei, \u003Cem>Obuje o motta musansha: Akasegawa Genpei no bunshō\u003C/em> [The proletarian who possessed objets: The writings of Akasegawa Genpei] (Tokyo: Gendai Shichōsha, 1970), 25–32; reprinted in Akasegawa Genpei, \u003Cem>Obuje o motta musansha: Akasegawa Genpei no bunshō\u003C/em> (Tokyo: Kawade Shobō Shinsha, 2015), 29–36.","Akasegawa Genpei, “‘Shihon shugi riarizumu’ ron,” \u003Cem>Nihon dokusho shimbun\u003C/em>, no. 1246 (February 24, 1964); reprinted in Akasegawa Genpei, \u003Cem>Obuje o motta musansha: Akasegawa Genpei no bunshō\u003C/em> [The proletarian who possessed objets: The writings of Akasegawa Genpei] (Tokyo: Gendai Shichōsha, 1970), 25–32; reprinted in Akasegawa Genpei, \u003Cem>Obuje o motta musansha: Akasegawa Genpei no bunshō\u003C/em> (Tokyo: Kawade Shobō Shinsha, 2015), 29–36.\r\n\u003Cbr>\u003Cbr>\r\n赤瀬川原平「”資本主義リアリズム”論」、『日本読書新聞』1246号(1964年2月24日)。赤瀬川原平『オブジェを持った無産者 : 赤瀬川原平の文章』現代思潮社、1970年、25–32頁。復刻版:赤瀬川原平『オブジェを持った無産者 : 赤瀬川原平の文章』河出書房新社 、2015年、29–36頁。","初版:\u003Ca href=\"https://id.ndl.go.jp/bib/000001281873\" target=\"_blank\">https://id.ndl.go.jp/bib/000001281873\u003C/a>\u003Cbr/>\r\n復刻版:\u003Ca href=\"https://id.ndl.go.jp/bib/026028188\" target=\"_blank\">https://id.ndl.go.jp/bib/026028188\u003C/a>","First printed: \u003Ca href=\"https://id.ndl.go.jp/bib/000001281873\" target=\"_blank\">https://id.ndl.go.jp/bib/000001281873\u003C/a>\u003Cbr/>\r\nReprinted: \u003Ca href=\"https://id.ndl.go.jp/bib/026028188\" target=\"_blank\">https://id.ndl.go.jp/bib/026028188\u003C/a>","復刻版:9784309275550","Reprint: 9784309275550","”資本主義リアリズム”論 (1964)","Theses on \"Capitalist Realism\" (1964)",[811],{"related_artist_id":812,"related_artist_label":790},"A1013","https://contents.artplatform.go.jp/wp-content/uploads/2021/03/APJ_202008_Akasegawa1964.pdf",{"self":815,"collection":818,"about":820,"version-history":822,"predecessor-version":826,"wp:attachment":830,"wp:term":833,"curies":842},[816],{"href":817},"https://contents.artplatform.go.jp/wp-json/wp/v2/text/836",[819],{"href":118},[821],{"href":121},[823],{"count":824,"href":825},16,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/836/revisions",[827],{"id":828,"href":829},2583,"https://contents.artplatform.go.jp/wp-json/wp/v2/text/836/revisions/2583",[831],{"href":832},"https://contents.artplatform.go.jp/wp-json/wp/v2/media?parent=836",[834,836,838,840],{"taxonomy":135,"embeddable":136,"href":835},"https://contents.artplatform.go.jp/wp-json/wp/v2/categories?post=836",{"taxonomy":139,"embeddable":136,"href":837},"https://contents.artplatform.go.jp/wp-json/wp/v2/tags?post=836",{"taxonomy":142,"embeddable":136,"href":839},"https://contents.artplatform.go.jp/wp-json/wp/v2/text_type?post=836",{"taxonomy":145,"embeddable":136,"href":841},"https://contents.artplatform.go.jp/wp-json/wp/v2/theme?post=836",[843],{"name":149,"href":150,"templated":136},71,["Reactive",846],{"$snuxt-i18n-meta":847,"$sviewportState":848,"$snuxt-seo-utils:routeRules":849,"$snuxt-seo:breadcrumb:breadcrumb":850,"$ssite-config":860},{},"pc",{"head":-1,"seoMeta":-1},[851,854,857],{"to":852,"label":853,"ariaLabel":853,"current":73},"/ja","Home",{"to":855,"label":856,"ariaLabel":856,"current":73},"/ja/readings","文献資料",{"to":858,"label":859,"ariaLabel":859,"current":136},"/ja/readings/newly","既訳文献",{"_priority":861,"currentLocale":864,"defaultLocale":865,"description":866,"env":867,"name":868,"url":869},{"name":862,"env":863,"url":862,"defaultLocale":862,"currentLocale":862,"description":862},-2,-15,"ja","en","日本の近現代アートや日本全国の美術館コレクションに関する情報を広く集め、国内外への提供を行うプラットフォーム。国立アートリサーチセンター(NCAR)が企画・制作・運営を担っています。","production","アートプラットフォームジャパン(APJ)","https://artplatform.go.jp",["Set"],["ShallowReactive",872],{"$pMSOJbbiEV":-1,"$dP4gsvKw9X":-1},{}]