Kangakai - Kangakai

Japanese: 鑑画会 - かんがかい

…He moved to Tokyo in 1877, and while he was living a life of wandering, his works “Yukoma Under Cherry Blossoms” and “Snow Landscape” that he exhibited at the 2nd National Painting Exhibition in 1884 were recognized by Ernest Fenollosa, and he eventually came to know Okakura Tenshin. He exhibited “Flying Through the Valley” (Museum of Fine Arts, Boston), which added rational realism to the Kano school’s hand-drawn lines and the classical, spirited spatial expression of Sesshu’s paintings. He then discovered color, and his work “Nio Catching a Demon,” which used carmine red, cobalt, pink, and other colors that he had ordered from Paris, won first prize at the 2nd Kangakai, and he came to lead the Kangakai, which paved the way for Fenollosa and others to create new Japanese paintings. After “Acala,” which incorporated Western-style shading and aerial perspective techniques, he worked on “Portrait of the Sorrowful Mother Kannon,” which became the origin of modern Japanese painting. …

From Masakuni Hashimoto

...In the 1870s, a movement to revive traditional arts arose, and in 1882, he exhibited at the first Domestic Painting Exhibition sponsored by the Ministry of Agriculture and Commerce, winning an award and gaining recognition in the art world. In 1884, the Kangakai Society was founded by Ernest Fenollosa, Okakura Tenshin and others, and he participated in it together with Hogai, reviving the spirit of "vitality" that had barely flowed in Kano school paintings, which were becoming a mere formality, and working to pioneer a new style of painting by adding new ideas to the expression of color and light. In 1888, he became the first professor of Japanese painting at the founding of the Tokyo School of Fine Arts, where he taught the next generation, but in 1898, he followed Tenshin out of the profession and participated in the founding of the Japan Art Academy, becoming its chief director. ...

From Fenollosa

…His lecture on the rejection of Western painting and the defense of Japanese painting, which he gave at the Ryuchi-kai in 1882, was published as “The True Theory of Art” and caused a great sensation. However, he was opposed to the Ryuchi-kai’s tendency to focus on the old guard, and in 1884 he founded the Kanga-kai with Okakura Tenshin and others, advocating the creation of new Japanese painting. It is well known that he discovered the shy Kano Hogai and Hashimoto Gaho and supported their work. …

*Some of the terminology that refers to the "Kangakai" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…1877年上京，路頭に迷うような生活のなかで84年第2回全国絵画共進会に出品した《桜下勇駒図》《雪景山水図》がフェノロサに認められ，やがて岡倉天心とも知った。狩野派の懸腕直筆の描線と雪舟画のもつ古典的な気魄のこもった空間表現の上に合理的な写実性を加えた《谿間雄飛》(ボストン美術館)を発表，ついで色彩に開眼し，パリから取り寄せたカーマイン系の赤やコバルト，ピンク等を使用した《仁王捉鬼》が第2回鑑画会一等賞を得，フェノロサらの新日本画創造の道を開く鑑画会の先頭に立つに至った。ついで洋風の陰影法や空気遠近法的手法をとり入れた《不動明王》を経て，近代日本画の原点となる《悲母観音像》の制作に取り組んだ。…

【橋本雅邦】より

…明治10年代に入って伝統美術復興の運動がおこり，彼は82年の農商務省主催第1回内国絵画共進会に出品，受賞して画壇に認められた。84年フェノロサ，岡倉天心らによって鑑画会が創立され，芳崖とともにこれに参加，形骸化しつつあった狩野派絵画にかろうじて流れていた〈気韻生動〉の気を復活するとともに，色彩や光線の表現に新しい工夫を加えて新画風の開拓につとめた。88年東京美術学校の創立とともに最初の日本画教授となり，後進の指導にあたるが，98年には天心に従い野に下り，日本美術院の創立に参画，その主幹となる。…

【フェノロサ】より

…82年竜池会で講演した洋画の排斥と日本画擁護論は，《美術真説》として公刊され，多大の反響をよんだ。しかし，旧守をもっぱらにする竜池会の傾向には反対で，84年に岡倉天心らと鑑画会を興し，新しい日本画の創造を提唱した。塞（ひつそく）していた狩野芳崖と橋本雅邦を見いだし，制作を支援したことはよく知られている。…

※「鑑画会」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典第２版について | 情報

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