迎田秋悦の晩年の制作活動における芸術観 : 《干網蒔絵棚》を中心に

下出, 茉莉

doi:https://doi.org/10.18910/103720

迎田秋悦の晩年の制作活動における芸術観 : 《干網蒔絵棚》を中心に

下出, 茉莉

デザイン理論, 2026, 87, 21-34

アクセス数:140件（2026-10-30 06:09 集計）

固定URL: https://doi.org/10.18910/103720

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タイトル	迎田秋悦の晩年の制作活動における芸術観 : 《干網蒔絵棚》を中心に
	Shuetsu Koda’s Artistic Vision in the Creative Activities of His Later Life
	コウダ　シュウエツ　ノ　バンネン　ノ　セイサク　カツドウ　ニ　オケル　ゲイジュツカン　アボシマキエタナ　ヲ　チュウシン　ニ
著者	NRID 1000070979947 1000070979947 著者名下出, 茉莉 ; Shimode, Mari
キーワード等	迎田秋悦
	岸本吉左衛門
	近代漆工史
	蒔絵
	美術工芸
	Shuetsu Koda
	Kichizaemon Kishimoto
	history of modern lacquer work
	maki-e (gold or silver lacquer work)
	arts and crafts
内容	学術論文
抄録	Shuetsu Koda (1881–1933) was a lacquer artist who worked primarily in Kyoto from the end of the Meiji period to the beginning of the Showa period. He gained recognition as a master craftsman specializing in maki-e, a decorative technique unique to Japan in the art of lacquerware. In his later years, Shuetsu spent approximately seven years in Tarumi, Hyogo Prefecture. He moved to Tarumi on the advice of Kichizaemon Kishimoto V (1887–?), the owner of a major steel company in Osaka. With Kishimoto’s support, Shuetsu exhibited all of his works from Tarumi at the Imperial Art Academy Exhibition (hereinafter “the Teiten”), which began in 1927.His works are primarily known for their classical style, influenced by the Rinpa school. However, the pieces he created in Tarumi and exhibited at the Teiten reveal a departure from traditional styles, demonstrating his pursuit of expressive effects through the full use of diverse maki-e techniques.Building on this observation, the paper first outlines the relationship between Kishimoto V and Shuetsu, and then explores Shuetsu’s artistic vision in his later years by examining the background behind the creation of Aboshi Maki-e Tana, a particularly significant work among those shown at the Teiten. The study reveals that, beyond drawing inspiration from historical masterpieces and renowned craftsmen, Shuetsu developed an approach that emphasized creating lacquer designs that fully engaged with the inherent qualities of maki-e techniques.
出版者	意匠学会
出版者	The Japan Society of Design
収録物名	デザイン理論
収録物名	Journal of the Japan Society of Design
巻(号)	87
ページ	21-34
刊行年月	2026-01-31
言語	日本語
ハンドルURL	https://hdl.handle.net/11094/103720
DOI	https://doi.org/10.18910/103720
PISSN	09101578
NCID	AN00006762
アクセス権	open access
出版タイプ	Version of Record
カテゴリ	本学関連学会 Related Societies
カテゴリ	デザイン理論 / Vol.87(2026-01)

資源タイプ	学術雑誌論文
ローカル資源タイプ	本学関連学会
DCMI資源タイプ	text
DCTERMS.bibliographicCitation	デザイン理論. 2026, 87, p. 21-34
DC.title	迎田秋悦の晩年の制作活動における芸術観 : 《干網蒔絵棚》を中心に
	Shuetsu Koda’s Artistic Vision in the Creative Activities of His Later Life
	コウダ　シュウエツ　ノ　バンネン　ノ　セイサク　カツドウ　ニ　オケル　ゲイジュツカン　アボシマキエタナ　ヲ　チュウシン　ニ
DC.creator	下出, 茉莉
DC.creator	Shimode, Mari
DC.publisher	意匠学会
DC.publisher	The Japan Society of Design
DC.language' scheme='DCTERMS.RFC1766	日本語
DC.type' scheme='DCTERMS.DCMIType	text
DCTERMS.issued' scheme='DCTERMS.W3CDTF	2026-01-31
DC.subject	迎田秋悦
	岸本吉左衛門
	近代漆工史
	蒔絵
	美術工芸
	Shuetsu Koda
	Kichizaemon Kishimoto
	history of modern lacquer work
	maki-e (gold or silver lacquer work)
	arts and crafts
DC.description	学術論文
DCTERMS.abstract	Shuetsu Koda (1881–1933) was a lacquer artist who worked primarily in Kyoto from the end of the Meiji period to the beginning of the Showa period. He gained recognition as a master craftsman specializing in maki-e, a decorative technique unique to Japan in the art of lacquerware. In his later years, Shuetsu spent approximately seven years in Tarumi, Hyogo Prefecture. He moved to Tarumi on the advice of Kichizaemon Kishimoto V (1887–?), the owner of a major steel company in Osaka. With Kishimoto’s support, Shuetsu exhibited all of his works from Tarumi at the Imperial Art Academy Exhibition (hereinafter “the Teiten”), which began in 1927.His works are primarily known for their classical style, influenced by the Rinpa school. However, the pieces he created in Tarumi and exhibited at the Teiten reveal a departure from traditional styles, demonstrating his pursuit of expressive effects through the full use of diverse maki-e techniques.Building on this observation, the paper first outlines the relationship between Kishimoto V and Shuetsu, and then explores Shuetsu’s artistic vision in his later years by examining the background behind the creation of Aboshi Maki-e Tana, a particularly significant work among those shown at the Teiten. The study reveals that, beyond drawing inspiration from historical masterpieces and renowned craftsmen, Shuetsu developed an approach that emphasized creating lacquer designs that fully engaged with the inherent qualities of maki-e techniques.
DC.identifier	10.18910/103720
DC.format	103720
citation_title	迎田秋悦の晩年の制作活動における芸術観 : 《干網蒔絵棚》を中心に
citation_author	下出, 茉莉
citation_publisher	意匠学会
citation_language	日本語
citation_date	2026-01-31
citation_journal_title	デザイン理論
citation_volume	87
citation_firstpage	21
citation_lastpage	34
citation_public_url	https://hdl.handle.net/11094/103720
citation_doi_detail	10.18910/103720
citation_doi	https://doi.org/10.18910/103720

迎田秋悦の晩年の制作活動における芸術観 : 《干網蒔絵棚》を中心に

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