Among the air of civilization that moved from Edo to Tokyo, Komura Takamura and Mt. In the first year of Meiji, both of them found a life-long aspect of drawing based on nature observation.
In the world of wood carving that was agitated by the abolition of abandoned Buddha caused by the Meiji Restoration, Kouun struggled to prevent the destruction of wood carving, but he adopted a technique different from conventional wood carving by sketching I tried to revive the wood carving.
Tamayama also scrutinized the anatomy of the human body and tried to find a real new face in the works of skull and human skeleton. However, the general appearance of fang carving has been prominent for a period of time, and at the same time, the new surface appeared from the netsuke to the round carving, and from the round carving to the masterpiece. I couldn’t finally become a sculpture of the new era because I fell in love with trivia and decoration.
The Buddhist, Netsuke, and Miyagi engraving guardians who protect the traditional carving techniques are gradually gaining momentum to learn about the realistic realism of Western Europe, but some of them are already growing in this way. There was.
It was the arrival of Italian Ragusa at the Kobu Art School, which was established in Meiji 9th, to systematically introduce it. Ragusa introduced to Japan a new technique, mainly of clay plastic sculpting and sketching. However, the people who learned there seemed to be distracted only by the so-called real thing, and could not understand even the sculpture logic, and seemed to end up wondering how to imitate the real thing.
This tendency was promoted by the superiority and inferiority of the technique, from the drawing of the outline to the faithful nature observation, and eventually to the realist modeling of the Taisho and Showa eras, forming the academism of Japanese sculpture. Become. However, due to the influence of faithful nature observations by Taketaro Shinkai and Fumio Asakura, who were outside the Ragusa family, and the ability to express their skills, this flow will dominate the exhibition for a long time.
In such a situation, it was Morio Ogiwara, who is the one who claimed the sculpture that enlivened the inner life. This is Kotaro Takamura, the son of Koun. He strongly awakens to the modern ego, respects individuality, and expresses the heightened inner life of the sculpture. He explored modern modeling ideas and systematized sculpture theory for the first time. It goes without saying that both of them were moved by Rodin and were enlightened by Rodin.
It was from this point that it was at this point that the modern Western new ideas that had finally flowed into blood became flesh, and that they were ready to walk together in the same period. By the guards and Kotaro, the modern Japanese sculpture opened the first gate in the last year of Meiji.
The guards and Kotaro are alleged to have become more internal realism, being drawn to the sculpture department of the Japanese Art Academy, Teijiro Nakahara, Kogan Tohari, Tsuruzo Ishii, and Toyoichi Yamamoto, who were revitalized in 1925. In addition, Yuzo Fujikawa of the Nishina Sculpture Department in 1926, Tayoshi Shimizu of the National Painting Creation Society in 1926, Shin Hongo, Yoshitatsu Yanagihara, Tadayoshi Sato, and Yasushi Funakoshi of the New Production Society of 1934. Taisho and Showa are formed by various unique writers based on the spirit of the field, such as Takeshi, Kazuo Kikuchi, and Katsura Kiuchi who learned from Bourdelle.
The spirit of Japan’s modern sculpture, which was opened by the guards, is deepened in this way, but even after the war, the sculpture world will reach a new stage and will expand in various ways while showing great changes. The artist is trying to make things using all kinds of materials in collaboration with modern technology, with the creative act different from the conventional sculpture, in which the artist creates and completes the things inside himself with his own hands.
Many contemporary artists, including Masakazu Horiuchi, Shindo Tsuji, Ryokichi Mukai, and others, have found a variety of possibilities, especially from around 1960, while raising the hot air and thinking about art and modeling. I am trying. It can be said that contemporary sculptures are out in the open air, and they are trying to play a role in human life in a communal society.