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リアルTOEIC 講演会


浮世絵の米国での受容のあり方を講演したChristine Guthさんの "Collecting Japanese Prints in America: A Taste for Democracy?"という動画がありました。


The Dragon and the Chrysanthemum: Collecting Chinese and Japanese Art in America

Thursday and Friday, March 15 &16, 2012
Center for the History of Collecting,
The Frick Collection and Art Reference Library Event entrance: 1 East 70th Street, New York, NY 10021

The Frick Collection is pleased to announce that immediately prior to the start of Asia Week in New York, it will host a two-day symposium on collecting Chinese and Japanese art in America. This special event on March 15 and 16 will provide historical framework for the long- standing interest Americans have had and continue to have in Asian art. Topics to be discussed range from the China Trade during the late eighteenth and early nineteenth centuries; missionary collectors such as John Ferguson; Gilded-Age collectors from Boston and their passion for Chinese and Japanese art; distinguished collectors such as Laurence Sickman, who collected specifically for museums; dealers such as C. T. Loo; John D. Rockefeller III's collecting and his relationship with his advisor Sherman Lee; and, finally, the shifting trends of collecting Chinese and Japanese art after World War II. The symposium is made possible through the generous support of the Japanese Art Dealers Association.


Tickets for both days of the symposium are $40 ($30 for Members); single day tickets are $25 ($20 for Members). Tickets will be available for purchase beginning February 10, 2012, online (centerprograms@frick.org) and by phone.
For more information, please call 212.547.6894 or consult the Center’s Symposium pages here: http://www.frick.org/center/symposia.htm
The Center’s general pages can be found here: http://www.frick.org/center/index.htm

使われている構文はいずれもTOEICでも頻出するものですね。in conjunction with…は韓国の公式問題集vol5に登場していました。

guest card must be used in conjunction with member card

(主催者)is pleased to announce that

(主催者)will host a two-day symposium

This special event (…) will provide historical framework

Topics to be discussed range from …

The symposium is made possible through the generous support of


This event is made possible in part by a contribution from the Elisabeth Kristeller Memorial Foundation.


この動画でも岡倉天心のThe Ideals of the East(東洋の理想)という著作での浮世絵の考えが紹介されていました。岡倉は庶民の芸術として低く見ていて、真の芸術ではないと考えているようです。まあ、ボストンで浮世絵などを買い漁るアメリカ人を嫌というほど見ていたから印象が悪ったのかもしれません。ただ、浮世絵が米国で流行したのはまさに庶民向けのものであったこと=民主的なものを見出したことにあるというのは興味深い指摘ですね。

The Popular School, which was their only expression, though it attained skill
in colour and drawing, lacks that ideality which is the basis of Japanese art. Those charmingly coloured wood-cuts, full of vigour and versatility, made by Outamaro, Shunman, Kionobu, Harunobu, Kionaga, Toyokuni, and Hokusai, stand apart from the main line of development of Japanese art, whose evolution has been continuous ever since the Nara period. The inros, the netsukes, the sword-guards, and the delightful lacquer-work articles of the period, were playthings, and as such no embodiment of national fervour, in which all true art exists. Great art is that before which we long to die. But the art of the late Tokugawa period only allowed a man to dwell in the delights of fancy. It is because the prettiness of the works of this period first came to notice, instead of the grandeur of the masterpieces hidden in the daimyos' collections and the temple treasures, that Japanese art is not yet seriously considered in the West.


軍国主義とは無関係だと岡倉天心をかばう人もいるみたいですが、Great art is that before which we long to die.(偉大な芸術とは、その前でわれわれが死にたいと願うところのものである。)ともあるように彼に勇ましい部分が多分にあったことは確かですし、西洋と東洋という枠組みそのものが対立を生みやすいものであったと思います。また、庶民を低くみる態度と軍人の国民軽視の態度とオーバーラーップしやすいですから、そんなに簡単に潔白とは言えないような気もします。


Frank Lloyd Wright and Japanese art
Heaven, closer to earth

Oct 12th 2012, 14:59 BY A.Y. | CHICAGO

FRANK LLOYD WRIGHT is best known as a revolutionary American architect. A hallmark of his work is sensitivity to the natural environment—Fallingwater, the house he built over a waterfall, is a prime example. But Wright had a second career as a collector of and dealer in Japanese block prints, continuing this business until his death in 1959 at the age of 91. At times, he made more money selling prints than he did from architecture.


Wright was first captivated by Japanese art in 1893, when he saw Japan’s pavilions at the sprawling world fair in Chicago. His interest in Japan’s art and culture blossomed during several trips there starting in 1905. He opened an office in Japan in 1915 and lived there for a few years while building the Imperial Hotel in Tokyo. “At last I had found one country on earth where simplicity, as nature, is supreme,” he wrote.

He returned from his first trip to Japan with hundreds of ukiyo-e (woodblock) prints, planning to sell them in America. Wright often sold his clients art to hang on the walls he had built, explaining that they complemented his streamlined interiors. Japanese prints, especially traditional bird and flower images, had easily understandable motifs.

The prints were a commercial hit but Wright was also personally enthralled by them. “A Japanese artist grasps form always by reaching underneath for its geometry, never losing sight of its spiritual efficacy,” he wrote in “The Japanese Print”, a slim, 35-page book published in 1912. “These simple coloured engravings are indeed a language whose purpose is absolute beauty.”