今村 信隆
『北方人文研究』(北海道大学大学院文学研究科北方研究教育センター) 第7号 7 1 - 23 北海道大学大学院文学研究科北方研究教育センター = Center for Northern Humanities, Graduate School of Letters, Hokkaido University 2014年03月
[査読有り][通常論文] This paper examines the trend toward a word of "soboku", or naivety and simplicity,which has been frequently referred to in Japanese art scene in the 1930s, especiallyaround the newborn Dokuritsu Exhibition (est.1930). Mainly focusing on the monthlyart journal Dokuritsu Bijutsu issued by the Dokuritsu Exhibition, we show that"soboku", albeit a common word itself, can explain some of highly characteristicattitudes and strategies of the early Dokuritsu Exhibition.On the one hand, around the 1930's Dokuritsu Exhibition, "soboku" sometimesmeans the style of French painter Henri Rousseau and his followers. In this case,"soboku" is often used in order to indicate some negative aspect of one's painting style,which was considered as old-fashioned, and therefore should be surpassed. On theother hand, the word "soboku" has positive meanings. For example, indicating naive,childlike, artless style of paintings, this word was applied to one of the mostcontroversial problems in this period, namely the local color of works. In this case,"soboku" signifies some merits of painter's local color. In other cases, when arguing apainter's works or his style in connection with his own life style or personal character,this word connotes more ethical meanings.