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Ÿ¼¨´ü´Ö |
ºî²È̾(ÏÂ) |
Âê̾(ÏÂ) |
À©ºîǯ(c.=¡Áǯº¢¡Ë |
µ»Ë¡ |
»Ù»ýÂÎ |
ºî²È̾(±Ñ) |
Âê̾(±Ñ) |
Ÿ¼¨¾ì½ê |
´ó£¡¦´óÂ÷ |
|
| µ¡Ý1¡¡ÌÀ¼£¡¦ÂçÀµ´ü¤ÎÈþ½Ñ¡¡Ê¸Å¸³«ÀßÁ°¸å µ-1¡¡Art in the Meiji and Taisho Periods ¡Ý Around the Launch of the Bunten |
| |
|
ÀÄÌÚÈË |
±¿Ì¿ |
1904 |
ÌýºÌ |
ÈÄ |
AOKI, Shigeru |
Destiny |
ËÜ´Û4F |
|
|
| |
Á° |
º£Â¼»ç¹È |
»þ½¡ |
1908 |
ºÌ¿§ |
¸¨ËÜ |
IMAMURA, Shiko |
Hojo Tokimune Consulting Mugaku Sogen about the Mongol Invasion |
ËÜ´Û4F |
|
|
| |
¸å |
º£Â¼»ç¹È |
Å« |
c.1900 |
ºÌ¿§ |
¸¨ËÜ |
IMAMURA, Shiko |
Flute |
ËÜ´Û4F |
|
|
| |
|
Ç߸¶Î¶»°Ïº |
²«¶â¤Î¼ó¾þ¤ê |
1913 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
UMEHARA, Ryuzaburo |
Gold Necklace |
ËÜ´Û4F |
ºî¼Ô´ó£ |
|
| |
|
ÂÀÅÄ´îÆóϺ |
¿·ÎФκ¢ |
1911 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
OTA, Kijiro |
Season on Fresh Green |
ËÜ´Û4F |
ÂÀÅĵƻ޻á´ó£ |
|
| 13 |
|
ÈøÃÝÃÝÔ³ |
¤ª¤È¤Å¤ì |
1910 |
ºÌ¿§ |
»æËÜ |
OTAKE, Chikuha |
The Visit |
ËÜ´Û4F |
|
|
| |
|
ºäËÜÈËÆóϺ |
»°·îº¢¤ÎËÒ¾ì |
1915 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
SAKAMOTO, Hanjiro |
Dairy Farm about March |
ËÜ´Û4F |
´óÂ÷ºîÉÊ |
|
| 5 |
|
¿·³¤ÃÝÂÀϺ |
¤æ¤¢¤ß |
1907 |
¥Ö¥í¥ó¥º |
|
SHINKAI, Taketaro |
Bathing |
ËÜ´Û4F |
|
|
| |
|
ÄÔ±Ê |
¥ê¥ó¥´ºé¤¯ |
1916 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
TSUJI, Hisashi |
Apple Trees in Bloom |
ËÜ´Û4F |
ºî¼Ô´ó£ |
|
| |
|
»ûºê¹¶È |
Þä»ÍÂê(±À¤ÎÊö¡¦²Æ¤Î·î¡¦½©Ì¸¡¦±«¸å) |
1909 |
ºÌ¿§ |
»æËÜ |
TERASAKI, Kogyo |
Four Scenes of Mountain Stream: Hills with Clouds, Summer Moon, Autumn Mist, After Rain |
ËÜ´Û4F |
|
|
| |
|
ÃæÂô¹°¸÷ |
²Æ |
1907 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
NAKAZAWA, Hiromitsu |
Summer |
ËÜ´Û4F |
|
|
| 1 |
|
¸¶ÅÄľ¼¡Ïº |
µ³Î¶´Ñ²» |
1890 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
HARADA, Naojiro |
Kannon Bodhisattva Riding the Dragon |
ËÜ´Û4F |
¸îÔ¢»û¢¡Ê´óÂ÷ºîÉÊ¡Ë |
|
| 14 |
|
Æ£ÅçÉðÆó |
¤¦¤Ä¤Ä |
1913 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
FUJISHIMA, Takeji |
Half Dreaming |
ËÜ´Û4F |
|
|
| |
|
Æî·°Â¤ |
Ï»·î¤ÎÆü |
1912 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
MINAMI, Kunzo |
One Day in June |
ËÜ´Û4F |
|
|
| |
|
»³ËÜŤ |
¿åÍá |
1918 |
ÌÚÈÇ(¿¿§) |
|
YAMAMOTO, Kanae |
Bathing |
ËÜ´Û4F |
»³¸ýµ®µ×ÃË¡¢Èþ·Ã»á´ó£ |
|
| |
|
»³¸µ½Õµó |
±ö¸¶¤Î±ü |
1909 |
ºÌ¿§ |
¸¨ËÜ |
YAMAMOTO, Shunkyo |
Recesses of Shiobara |
ËÜ´Û4F |
|
|
| |
|
»³ËÜ¿¹Ç·½õ |
¶Ê±º |
1908 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
YAMAMOTO, Morinosuke |
Inlet |
ËÜ´Û4F |
|
|
| 4 |
|
ÏÂÅÄ»°Â¤ |
ÆîÉ÷ |
1907 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
WADA, Sanzo |
South Wind |
ËÜ´Û4F |
|
|
| µ¡Ý2¡¡ÌÀ¼£¡¦ÂçÀµ´ü¤ÎÈþ½Ñ¡¡ÂçÀµ¤Î¥Ò¥å¡¼¥Þ¥Ë¥º¥à¡¡¡¡µ-2¡¡ Art in the Meiji and Taisho Periods ¡Ý Humanism in the Taisho Period (1912¡Ý26) |
| |
Á° |
¾®Àî°òÁ¬ |
»ô±î¤È¥«¥Ã¥Ñ¤ÎÁ褤(²ÏƸɴ¿Þ¤ÎÆâ¡¡Âè25¿Þ) |
1923-37 |
ËϲèøºÌ |
»æËÜ |
OGAWA, Usen |
Quarrel between a Monkey and a Water Imp (No.25 of "Water Imps in Hundred Settings") |
ËÜ´Û4F |
|
|
| 12 |
|
²®¸¶¼é±Ò |
½÷ |
1910 |
¥Ö¥í¥ó¥º |
|
OGIWARA, Morie |
Woman |
ËÜ´Û4F |
|
|
| |
¸å |
¾®ÌÐÅÄÀļù |
¾¾¹¾É÷·Ê |
1920 |
ºÌ¿§ |
»æËÜ |
OMODA, Seiju |
A Scene in Matsue |
ËÜ´Û4F |
|
|
| |
Á° |
¾®ÌÐÅÄÀļù |
½Ð±À¹¾³Ñ¹Á¡Ê¤¤¤º¤â¤¨¤º¤ß¤³¤¦¡Ë |
1921 |
ºÌ¿§ |
»æËÜ |
OMODA, Seiju |
The Port of Ezumi in Izumo |
ËÜ´Û4F |
|
|
| 20 |
|
´ßÅÄÎÀ¸ |
ƻϩ¤ÈÅÚ¼ê¤Èʽ(ÀÚÄÌÇ·¼ÌÀ¸) |
1915 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
KISHIDA, Ryusei |
Road Cut through a Hill |
ËÜ´Û4F |
|
|
| 23 |
|
´ßÅÄÎÀ¸ |
Îï»Ò¾ÓÁü(Îï»Ò¸ÞºÐÇ·Áü) |
1918 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
KISHIDA, Ryusei |
Reiko, Five Years Old |
ËÜ´Û4F |
|
|
| |
¸å |
´ßÅÄÎÀ¸ |
Åß±»²Ø»Ò¿Þ¡Ê¤È¤¦¤¬¤ó¤Ê¤¹¤º¡Ë |
1926 |
ºÌ¿§ |
¸¨ËÜ |
KISHIDA, Ryusei |
Wax Gourd and Egg Plants |
ËÜ´Û4F |
´óÂ÷ºîÉÊ |
|
| 27 |
|
´Øº¬ÀµÆó |
ȡ˱ |
1919 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
SEKINE, Shoji |
Three Stars |
ËÜ´Û4F |
|
|
| 26 |
|
ÅÚÅÄÇþÑ¢ |
Åò½÷ |
1918 |
ºÌ¿§ |
¸¨ËÜ |
TSUCHIDA, Bakusen |
Serving Girl at a Spa |
ËÜ´Û4F |
|
|
| 34 |
|
ÆÁ²¬¿ÀÀô |
Ï¡ |
1925 |
ºÌ¿§ |
¸¨ËÜ |
TOKUOKA, Shinsen |
Lotus |
ËÜ´Û4F |
ÆÁ²¬Ë¼»Ò»á´ó£ |
|
| |
|
¸ÍÄ¥¸É´ç |
ÆÞ¡Ê¤¯¤â¡Ë¤ê |
1917 |
¥Ö¥í¥ó¥º |
|
TOBARI, Kogan |
Cloudiness |
ËÜ´Û4F |
|
|
| |
|
¸ÍÄ¥¸É´ç |
ÁÇÉÁ |
ÉÔ¾Ü |
±ôÉ®¡¢¿åºÌ |
Ⱦ |
TOBARI, Kogan |
Drawing |
ËÜ´Û4F |
´î¿Éð»ÍϺ»á´ó£ |
|
| |
|
¸ÍÄ¥¸É´ç |
ÁÇÉÁ |
ÉÔ¾Ü |
±ôÉ®¡¢¿åºÌ |
Ⱦ |
TOBARI, Kogan |
Drawing |
ËÜ´Û4F |
´î¿Éð»ÍϺ»á´ó£ |
|
| |
Á° |
ÉÙ¼èÉ÷Ʋ |
ÀÅʪ |
1921 |
ºÌ¿§ |
¸¨ËÜ |
TOMITORI, Fudo |
Still Life |
ËÜ´Û4F |
´óÂ÷ºîÉÊ |
|
| |
|
ÃæÂ¼×³ |
ÂçÅçÉ÷·Ê |
1914-15 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
NAKAMURA, Tsune |
Landscape, Island Oshima |
ËÜ´Û4F |
|
|
| 29 |
|
ÃæÂ¼×³ |
¥¨¥í¥·¥§¥ó¥³»á¤ÎÁü |
1920 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
NAKAMURA, Tsune |
Portrait of Vasilii Yaroshenko |
ËÜ´Û4F |
ÂçΤ°ìÂÀϺ»á´ó£ |
|
| |
¸å |
®¿å¸æ½® |
¤Ò¤è¤³ |
1924 |
ºÌ¿§ |
¸¨ËÜ |
HAYAMI, Gyoshu |
Chickens |
ËÜ´Û4F |
|
|
| |
Á° |
Ê¿Ê¡É´Êæ |
·øÅġʤ«¤¿¤À¡Ë¤Î°ìµÙ |
1929 |
ºÌ¿§ |
»æËÜ |
HIRAFUKU, Hyakusui |
Priest Ikkyu at Katada |
ËÜ´Û4F |
|
|
| 21 |
|
¼»³ÜÇ¿ |
¥Ð¥é¤È¾¯½÷ |
1917 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
MURAYAMA, Kaita |
Roses and a Girl |
ËÜ´Û4F |
»³Ëܹ§»á´ó£ |
|
| |
|
¿¹Åűͧ |
¥Õ¥é¥ó¥¹É÷·Ê |
1914-15 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
MORITA, Tsunetomo |
French Landscape |
ËÜ´Û4F |
¼¯Å缡Ϻ»á´ó£ |
|
| |
¸å |
²£»³Âç´Ñ |
Å컳 |
1924 |
Ëϲè |
¸¨ËÜ |
YOKOYAMA, Taikan |
Higashiyama |
ËÜ´Û4F |
|
|
| 17 |
|
èßÅ´¸ÞϺ |
ÍçÂÎÈþ¿Í |
1912 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
YOROZU, Tetsugoro |
Nude Beauty |
ËÜ´Û4F |
ȬÌÚÀµ¼£»á´ó£ |
|
| |
|
¥í¥À¥ó¡¢¥ª¡¼¥®¥å¥¹¥È |
¥È¥ë¥½¡¼ |
ÉÔ¾Ü |
¥Ö¥í¥ó¥º |
|
RODIN, Auguste |
Torso |
ËÜ´Û4F |
´äÇÈÌÐͺ»áµì¢¡¢´äÇÈͺÆóϺ»á°ä£ |
|
| ¶¡Ý1¡¡¾¼ÏÂÀïÁ°´ü¤ÎÈþ½Ñ¡¡ÅԻԤΤʤ«¤Î·Ý½Ñ²È¡¡¶-1 Art of the Prewar Showa Period (1926¡Ý40)¡Ý Artists in the Modern City |
| |
|
¥¢¥ë¥×¡¢ ¥¸¥ã¥ó¡Ê¥Ï¥ó¥¹¡Ë |
ÃÏÃæ³¤·²Áü |
1941/65 |
ÂçÍýÀÐ |
|
ARP, Jean(Hans) |
Mediterranean Group |
ËÜ´Û4F |
|
|
| |
|
Àаæ¸÷Éö |
ÇÀ²È¤ÎÄíÀè |
1930 |
¿åºÌ |
Ⱦ |
ISHII, Kofu |
Farmhaouse Garden |
ËÜ´Û4F |
ÀаæËüΤ»Ò»á´ó£ |
|
| |
|
Àаæ¸÷Éö |
¥Ö¥í¥ó¥¸Â¼ µ |
1930 |
¿åºÌ |
Ⱦ |
ISHII, Kofu |
Voulangi I |
ËÜ´Û4F |
ÀаæËüΤ»Ò»á´ó£ |
|
| |
|
¥¤¥Ã¥Æ¥ó¡¢ ¥è¥Ï¥Í¥¹ |
¡Ö¥è¥Ï¥Í¥¹¡¦¥¤¥Ã¥Æ¥óÈDz轸¡×¤è¤ê 1. ¥Á¥í¥ëÉ÷·Ê |
1919 |
¥ê¥È¥°¥é¥Õ |
|
ITTEN, Johannes |
1. Tirolean Landscape from "the Portfolio by Johannes Itten" |
ËÜ´Û4F |
|
|
| |
|
¥¤¥Ã¥Æ¥ó¡¢ ¥è¥Ï¥Í¥¹ |
¡Ö¥è¥Ï¥Í¥¹¡¦¥¤¥Ã¥Æ¥óÈDz轸¡×¤è¤ê 4. ¼ã¤¤½÷ |
1919 |
¥ê¥È¥°¥é¥Õ |
|
ITTEN, Johannes |
4. Young Woman from "the Portfolio by Johannes Itten" |
ËÜ´Û4F |
|
|
| |
|
¥¤¥Ã¥Æ¥ó¡¢ ¥è¥Ï¥Í¥¹ |
¡Ö¥è¥Ï¥Í¥¹¡¦¥¤¥Ã¥Æ¥óÈDz轸¡×¤è¤ê 9. ¥³¥ó¥Ý¥¸¥·¥ç¥ó |
1919 |
¥ê¥È¥°¥é¥Õ |
|
ITTEN, Johannes |
9. Composition from "the Portfolio by Johannes Itten" |
ËÜ´Û4F |
|
|
| |
|
³¤Ï·¸¶´îÇ·½õ |
¥²¥ì¥ó¥Ç |
1930 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
EBIHARA, Kinosuke |
Skiing Ground |
ËÜ´Û4F |
±öÂôº»²Ï»á´ó£ |
|
| |
|
²¸ÃϹ§»ÍϺ |
¤¢¤«¤ë¤¤»þ |
1915 |
ÌÚÈÇ(¿¿§) |
|
ONCHI, Koshiro |
Light Time |
ËÜ´Û4F |
|
|
| |
|
²¸ÃϹ§»ÍϺ |
¿ÍÂÎ |
1924 |
ÌÚÈÇ |
|
ONCHI, Koshiro |
Human Body |
ËÜ´Û4F |
|
|
| |
|
²¸ÃϹ§»ÍϺ |
¿ÍÂιͻ¡(ȱ) |
1927 |
ÌÚÈÇ(¿¿§) |
|
ONCHI, Koshiro |
Consideration of Human Body (Hair) |
ËÜ´Û4F |
|
|
| 43 |
|
¥«¥ó¥Ç¥£¥ó¥¹¥¡¼¡¢ ¥ï¥·¥ê¡¼ |
Á´ÂÎ |
1940 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
KANDINSKY, Wassily |
The Whole |
ËÜ´Û4F |
|
|
| |
|
¹ñµÈ¹¯Íº |
½©¤Î¤¿¤½¤¬¤ì |
1929 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
KUNIYOSHI, Yasuo |
Dusk in Autumn |
ËÜ´Û4F |
|
|
| |
|
¥¯¥ì¡¼¡¢ ¥Ñ¥¦¥ë |
²Ö¤Î¥Æ¥é¥¹ |
1937 |
ÌýºÌ |
ÌÊÉÛ |
KLEE, Paul |
Flower Terrace |
ËÜ´Û4F |
|
|
| |
|
¥°¥ê¥¹¡¢ ¥Û¥¢¥ó |
±ßÂî |
1921 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
GRIS, Juan |
The Gueridon |
ËÜ´Û4F |
|
|
| 40 |
|
¸Å²ì½Õ¹¾ |
³¤ |
1929 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
KOGA, Harue |
Sea |
ËÜ´Û4F |
|
|
| |
|
º´ÇìÍ´»° |
¥¬¡¼¥ÉÉ÷·Ê |
c.1926 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
SAEKI, Yuzo |
A Scene under the Girder Bridge |
ËÜ´Û4F |
´óÂ÷ºîÉÊ |
|
| |
|
¥¿¥ó¥®¡¼¡¢¥¤¥ô |
ϸ¼Ô(¤í¤¦¤·¤ã¡Ë¤Î¼ª |
1938 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
TANGUY, Yves |
The Ears of a Deaf |
ËÜ´Û4F |
|
|
| |
|
Åì¶¿ÀÄ»ù |
¥µ¥ë¥¿¥ó¥Ð¥ó¥¯ |
1926 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
TOGO, Seiji |
Street Performers |
ËÜ´Û4F |
|
|
| 42 |
|
ÌîÅıÑÉ× |
µ¢Ï© |
1935 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
NODA, Hideo |
Way to Home |
ËÜ´Û4F |
|
|
| |
|
ĹëÀîÍø¹Ô |
¥¿¥ó¥¯³¹Æ» |
1930 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
HASEKAWA, Toshiyuki |
Road to the Tank |
ËÜ´Û4F |
´óÂ÷ºîÉÊ |
|
| |
|
Æ£ÅĻ̼£ |
¥Ñ¥êÉ÷·Ê |
1918 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
FUJITA, Tsuguharu |
Street in Paris |
ËÜ´Û4F |
|
|
| |
|
»°´ß¹¥ÂÀϺ |
±À¤Î¾å¤òÈô¤Öij |
1934 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
MIGISHI, Kotaro |
Butterflies Flying above Clouds |
ËÜ´Û4F |
|
|
| |
|
ÌøÀ¥ÀµÌ´ |
˼ÁíÆîü |
1922 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
YANASE, Masamu |
Southern Part of the Boso Peninsula |
ËÜ´Û4F |
´óÂ÷ºîÉÊ |
|
| |
|
µÈ¸¶¼£ÎÉ |
³¤ÊÕ¤ÎÀÅʪ |
1931 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
YOSHIHARA, Jiro |
Still Life by the Sea |
ËÜ´Û4F |
|
|
| |
|
µÈ¸¶¼£ÎÉ |
ºîÉÊ2 |
c.1934 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
YOSHIHARA, Jiro |
Work 2 |
ËÜ´Û4F |
|
|
| 22 |
|
èßÅ´¸ÞϺ |
¤â¤¿¤ì¤ÆÎ©¤Ä¿Í |
1917 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
YOROZU, Tetsugoro |
Leaning Woman |
ËÜ´Û4F |
ȬÌÚÀµ¼£»á´ó£ |
|
| £´F ÆÃ½¸¥³¡¼¥Ê¡¼¡¡ Topic in Focus ¡¡º£Â¼»ç¹È¡Ý¡Ö³¨´¬ÊªÌϼ̡פȡְõÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¡¡ |
| Shiko Imamura: Cop£é£å£ó After Ancient Scroll£ó and Sketches From the Trip to India |
| |
|
º£Â¼»ç¹È |
³¨´¬ÊªÌϼ̡¡Éð¼ÔÇ·´¬ |
1898 |
ºÌ¿§ |
»æËÜ |
IMAMURA, Shiko |
Scroll of Warriors, copy after ancient scroll |
ËÜ´Û4F |
|
|
| |
Á° |
º£Â¼»ç¹È |
³¨´¬ÊªÌϼ̡¡½ÕÆü¸¢¸½µ(¤«¤¹¤¬¤´¤ó¤²¤ó¤)(¶°ì) |
ÉÔ¾Ü |
ºÌ¿§ |
»æËÜ |
IMAMURA, Shiko |
Scroll of the Story of the Kasuga Gongen Shrine 1, copy after ancient scroll |
ËÜ´Û4F |
|
|
| |
¸å |
º£Â¼»ç¹È |
³¨´¬ÊªÌϼ̡¡È¼ÂçǼ¸À³¨´¬(¶°ì) |
c.1899 |
ºÌ¿§ |
»æËÜ |
IMAMURA, Shiko |
Scroll of Ban Dainagon 1, copy after ancient scroll |
ËÜ´Û4F |
|
|
| |
Á° |
º£Â¼»ç¹È |
³¨´¬ÊªÌϼ̡¡¸å»°Ç¯¡Ê¤´¤µ¤ó¤Í¤ó¡Ë³¨´¬(¶°ì) |
1899 |
ºÌ¿§ |
»æËÜ |
IMAMURA, Shiko |
Scroll of the Gosannen Battle 1, copy after ancient scroll |
ËÜ´Û4F |
|
|
| |
¸å |
º£Â¼»ç¹È |
³¨´¬ÊªÌϼ̡¡¸å»°Ç¯¡Ê¤´¤µ¤ó¤Í¤ó¡Ë³¨´¬(¶»°) |
1899 |
ºÌ¿§ |
»æËÜ |
IMAMURA, Shiko |
Scroll of the Gosannen Battle 3, copy after ancient scroll |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
³¨´¬ÊªÌϼ̡¡Àл³±ïµ¯ |
1899 |
Ëϲè |
»æËÜ |
IMAMURA, Shiko |
Scroll of the Story of the Ishiyama Temple, copy after ancient scroll |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡¿·²ÅÔ³¡Ê¥·¥ó¥¬¥Ý¡¼¥ë¡ËÅÚ¿Í¿å¾åÀ¸³è |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Huts on the Water in Singapore from "Sketches from the Trip¡¡to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡ÈàÆî¡Ê¥Ú¥Ê¥ó¡Ë¹Ù³° |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Suburb of Penang from "Sketches from the Trip to India " |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡ÈàÆî¡Ê¥Ú¥Ê¥ó¡Ë¸ø±à¥Î¿¢Êª |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Plants in a Park in Penang from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡Íö¹×¡Ê¥é¥ó¥°¡¼¥ó¡Ë½ê¸« |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
A Scene in Rangoon from"Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡Íö¹×¡Ê¥é¥ó¥°¡¼¥ó¡Ë½ê¸« |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
A Scene in Rangoon from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡Íö¹×¡Ê¥é¥ó¥°¡¼¥ó¡Ë¤ÎÄ® |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Natives' District in Rangoon from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡²àÌí¡Ê¥¬¥ä¡¼¡Ë½ê¸« |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
A Scene in Gaya from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡²àÌí¡Ê¥¬¥ä¡Ý¡Ë½ê¸« |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
A Scene in Gaya from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡²àÌí¡Ê¥¬¥ä¡¼¡Ë½ê¸« |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
A Scene in Gaya from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡²àÌí¡Ê¥¬¥ä¡¼¡Ë¥ÎÄ® |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
The Town of Gaya from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡µí¼Ö |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Oxcart from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡°õÅÙÉ÷·Ê |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
A Scene in India from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡Áɽ£¡Ê¤½¤·¤å¤¦¡Ë |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Suzhou from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡Áɽ£¡Ê¤½¤·¤å¤¦¡Ë¥ÎÄ®¤Ï¤Å¤ì |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Suburb of Suzhou from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡À¾¸Ð¡Ê¤»¤¤¤³¡Ë |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Lake Xi from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡À¾¸Ð¡Ê¤»¤¤¤³¡Ë¸É»³¥ÎÅã |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Tower on Gushan Mountain, Lake Xi from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡À¾¸Ð¡Ê¤»¤¤¤³¡Ë |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Lake Xi from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡Äù¾¡Ê¤Á¤ó¤³¤¦¡Ë¥Î¼ |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
The Village of Zhenjiang from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡Äù¾¡Ê¤Á¤ó¤³¤¦¡Ë¶â»³»û |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Jinshansi Temple, Zhenjiang from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| |
|
º£Â¼»ç¹È |
¡Ö°õÅÙι¹Ô¥¹¥±¥Ã¥ÁÄ¢¡×¤è¤ê¡¡Æîµþ¡Ê¥Ê¥ó¥¥ó¡Ë¾ëÊÉ |
1914 |
ËÏ¡¢ºÌ¿§ |
Ⱦ |
IMAMURA, Shiko |
Town Wall of Nanjing from "Sketches from the Trip to India" |
ËÜ´Û4F |
|
|
| ¶¡Ý2¡¡¾¼ÏÂÀïÁ°´ü¤ÎÈþ½Ñ¡¡ÆüËܲ衦Íβè¤ÎÀ®½Ï¡¡¶-2 Art of the Prewar Showa Period (1926-40) ¡ÝA Maturity of Japanese-style and Western-style Paintings |
| |
|
ÀаæÄá»° |
½Ó´²(ƬÉô»îºî) |
1930 |
¥Ö¥í¥ó¥º |
|
ISHII, Tsuruzo |
Priest Shunkan (Study for Head) |
ËÜ´Û3F |
|
|
| |
|
°ËÅ쿼¿å |
Ϫ |
1931 |
ºÌ¿§ |
»æËÜ |
ITO, Shinsui |
Dewdrops |
ËÜ´Û3F |
ÊÂÌÚ½¡¼·»á´ó£ |
|
| |
|
¾å¼¾¾±à |
¿·ê¥(¤Ë¤¤¤Ü¤¿¤ë) |
1944 |
ºÌ¿§ |
¸¨ËÜ |
UEMURA, Shoen |
Firefly |
ËÜ´Û3F |
|
|
| |
|
Ç߸¶Î¶»°Ïº |
Ĺ°Â³¹ |
1940 |
ÌýºÌ¡¢´ä³¨¶ñ |
Ⱦ |
UMEHARA, Ryuzaburo |
Chang An Streets, Beijing |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| 59 |
|
Ç߸¶Î¶»°Ïº |
Ë̵þ½©Å· |
1942 |
ÌýºÌ¡¢´ä³¨¶ñ |
Ⱦ |
UMEHARA, Ryuzaburo |
Autumn in Beijing |
ËÜ´Û3F |
Àî¸ý¾¾ÂÀϺ»á´ó£ |
|
| |
|
²¬ÅÄ»°Ïº½õ |
ÉØ¿ÍȾ¿ÈÁü |
1936 |
ÌýºÌ¡¢¤½¤Î¾ |
Ⱦ |
OKADA, Saburosuke |
Portrait of a Woman |
ËÜ´Û3F |
|
|
| |
|
¾®ÁÒÍ·µµ |
¾®½÷ |
1956 |
ºÌ¿§ |
»æËÜ |
OGURA, Yuki |
Girl |
ËÜ´Û3F |
|
|
| |
¸å |
ÅÌÚÀ¶Êý |
ÌÀ¼£É÷¯½½Æó¥ö·î(¼··î) |
1935 |
ºÌ¿§ |
¸¨ËÜ |
KABURAKI, Kiyokata |
Monthly Manners and Customs of the Meiji Period, July |
ËÜ´Û3F |
|
|
| |
¸å |
ÅÌÚÀ¶Êý |
ÌÀ¼£É÷¯½½Æó¥ö·î(Ȭ·î) |
1935 |
ºÌ¿§ |
¸¨ËÜ |
KABURAKI, Kiyokata |
Monthly Manners and Customs of the Meiji Period, August |
ËÜ´Û3F |
|
|
| |
Á° |
ÅÌÚÀ¶Êý |
ÁãÎӻҡʤ½¤¦¤ê¤ó¤·¡Ë |
1935 |
ºÌ¿§ |
¸¨ËÜ |
KABURAKI, Kiyokata |
Sorinshi, the pseudonym of Chikamatsu Monzaemon |
ËÜ´Û3F |
|
|
| |
|
Àîüζ»Ò |
¡ÖÅìÅÔ̾½ê¡×¤è¤ê¡¡ÆüÈæÃ«¸ø±à |
1922-23 |
ºÌ¿§ |
¸¨ËÜ |
KAWABATA, Ryushi |
Hibiya Park from "Famous Views in Tokyo" |
ËÜ´Û3F |
´óÂ÷ºîÉÊ |
|
| |
|
Àîüζ»Ò |
¶â³Õ±ê¾å |
1950 |
ºÌ¿§ |
»æËÜ |
KAWABATA, Ryushi |
Kinkakuji-Temple on Fire |
ËÜ´Û3F |
¾¾Åİ˻°Íº»á´ó£ |
|
| |
|
¾åºå²í¿Í |
¤ªÃã¤Î¿åÊաʤ¢¤¿¤ê¡Ë¤ÎÅ´¶¶ |
1950 |
ÌÚÈÇ |
|
KOSAKA, Gajin |
Iron Bridge Near Ochanomizu |
ËÜ´Û3F |
¾åºå¤«¤Ä»á´ó£ |
|
| |
|
¾®ÎӸŷ |
ÅâéæµÐ(¤È¤¦¤â¤í¤³¤·) |
1939 |
ºÌ¿§ |
»æËÜ |
KOBAYASHI, Kokei |
Indian Corn Plants |
ËÜ´Û3F |
|
|
| |
|
²¼Â¼´Ñ»³ |
¡ÖÅìÅÔ̾½ê¡×¤è¤ê¡¡ÆüËܶ¶ |
1922-23 |
ºÌ¿§ |
¸¨ËÜ |
SHIMOMURA, Kanzan |
Nihombashi Bridge from "Famous Views in Tokyo" |
ËÜ´Û3F |
´óÂ÷ºîÉÊ |
|
| |
|
¿ÜÅĹñÂÀϺ |
Êâ¤àÏÉ |
1940 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
SUDA, Kunitaro |
Walking Eagle |
ËÜ´Û3F |
|
|
| |
|
ÆÁ²¬¿ÀÀô |
°ò¿Þ |
1943 |
ºÌ¿§ |
¸¨ËÜ |
TOKUOKA, Shinsen |
Taros |
ËÜ´Û3F |
ÆÁ²¬À¯»Ò»á´ó£ |
|
| |
|
Ê¿Äͱ¿°ì |
¸á¸å¤ÎÈôÀС¢ÆàÎÉ |
1960 |
ÌÚÈÇ |
|
HIRATSUKA, Un'ichi |
Stepping Stones in the Afternoon, Nara |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| |
|
Æ£°æ¹ÀÍ´ |
Ûàȱ¡Ê¤¹¤¤¬¤ß¡Ë |
1937 |
¥Ö¥í¥ó¥º |
|
FUJII, Koyu |
Hair Combing |
ËÜ´Û3F |
|
|
| |
|
»°Ã«½½»å»Ò |
ͼ |
1934 |
ºÌ¿§ |
¸¨ËÜ |
MITANI, Toshiko |
Evening |
ËÜ´Û3F |
|
|
| 51 |
|
°Â°æÁ¾ÂÀϺ |
±üÆþÀ¥¡Ê¤ª¤¤¤é¤»¡Ë¤ÎÞäή |
1933 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
YASUI, Sotaro |
Oirase Stream |
ËÜ´Û3F |
|
|
| 52 |
|
°Â°æÁ¾ÂÀϺ |
¶âÍÖ |
1934 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
YASUI, Sotaro |
Portrait of Chin-Jung |
ËÜ´Û3F |
|
|
| |
|
°ÂÅÄðÖɧ |
¡ÖÅìÅÔ̾½ê¡×¤è¤ê¡¡Ý¯ÅÄÌç |
1922-23 |
ºÌ¿§ |
¸¨ËÜ |
YASUDA, Yukihiko |
Sakurada Gate from "Famous Views in Tokyo" |
ËÜ´Û3F |
´óÂ÷ºîÉÊ |
|
| |
|
°ÂÅÄðÖɧ |
Ï»²ÎÀç |
1933 |
ºÌ¿§ |
¸¨ËÜ |
YASUDA, Yukihiko |
The Six Poetic Geniuses |
ËÜ´Û3F |
ËÙ±Ûͧµ¬»Ò»á´ó£ |
|
| |
|
²£»³Âç´Ñ |
¡ÖÅìÅÔ̾½ê¡×¤è¤ê¡¡ÉÔǦÃÓ |
1922-23 |
ºÌ¿§ |
¸¨ËÜ |
YOKOYAMA, Taikan |
Shinobazu Pond from "Famous Views in Tokyo" |
ËÜ´Û3F |
´óÂ÷ºîÉÊ |
|
| |
|
µÈ²¬·øÆó |
¾®·Æ |
1933 |
ºÌ¿§ |
»æËÜ |
YOSHIOKA, Kenji |
A Rest |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| ·¡¡Àï»þ¤È¡ÖÀï¸å¡×¤ÎÈþ½Ñ¡¡¡¡· Art during and after the War |
| 62 |
|
ðϸ÷ |
´ã¤Î¤¢¤ëÉ÷·Ê |
1938 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
AI-MITSU |
Landscape with an Eye |
ËÜ´Û3F |
|
|
| |
|
ËãÀ¸»°Ïº |
¼«²èÁü |
1937 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
ASO, Saburo |
Self-Portrait |
ËÜ´Û3F |
|
|
| |
|
´äÅÄÀìÂÀϺ |
¾®µÙ»ß |
1944 |
ºÌ¿§ |
»æËÜ |
IWATA, Sentaro |
Timeout on the Battlefield |
ËÜ´Û3F |
̵´ü¸ÂÂßÍ¿ |
|
| |
|
³¤Ï·¸¶´îÇ·½õ |
½Þ¶µ¼Ô |
1951 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
EBIHARA, Kinosuke |
Martyr |
ËÜ´Û3F |
|
|
| 63 |
|
¹á·îÂÙÃË |
¿å¶À |
1942 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
KAZUKI, Yasuo |
Water Mirror |
ËÜ´Û3F |
|
|
| 79 |
|
²Ï¸¶²¹ |
ÕԡʤϤé¡Ë¤ó¤À½÷ |
1954 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
KAWARA, On |
Pregnant Woman |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| 64 |
|
ËÌÏÆ¾º |
¥¯¥©¡¦¥ô¥¡¥Ç¥£¥¹ |
1949 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
KITAWAKI, Noboru |
Quo Vadis |
ËÜ´Û3F |
ËÌÏÆ¤«¤Í»á´ó£ |
|
| |
|
ÁâÎÉÔ÷ |
Ì©ÊĤ»¤ëÁÒ¸Ë |
1957 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
CHO, Yang Gyu |
Sealed Warehouse |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| |
|
Ê¡Âô°ìϺ |
¼ù³¤ |
1948 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
FUKUZAWA, Ichiro |
Deep Forest |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| |
|
Æ£ÅĻ̼£ |
·°¡Ê¤«¤ª¤ë¡Ë¶õÄòÂâŨ¿Ø¤Ë¶¯¹ÔÃåΦʳÀ魯 |
1945 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
FUJITA, Tsuguharu |
Fierce Fighting of Kaoru Paratroops After Landing on the Enemy's Position |
ËÜ´Û3F |
̵´ü¸ÂÂßÍ¿ |
|
| |
|
¾¾Ëܽײð |
Y»Ô¤Î¶¶ |
1943 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
MATSUMOTO, Shunsuke |
Bridge in Y-City |
ËÜ´Û3F |
|
|
| |
|
ÌðÂô¸¹·î |
¹¶Î¬Ä¾¸å¤Î¥·¥ó¥¬¥Ý¡¼¥ë·³¹Á |
c.1942 |
ºÌ¿§ |
»æËÜ |
YAZAWA, Gengetsu |
Singapore Naval Port Just After Occupation |
ËÜ´Û3F |
̵´ü¸ÂÂßÍ¿ |
|
| |
|
Ìø¸¶µÁã |
¸¤¤Î±´ |
1961 |
¥Ö¥í¥ó¥º |
|
YANAGIHARA, Yoshitatsu |
Song of the Dog |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| ¸¡¡1950-60ǯÂå¤ÎÈþ½Ñ ¡¡¸ Art in the 1950s and 1960s |
| |
|
¹Ó°æÎ¶ÃË |
¼ë¤ÎÃæ¤Î¼ë |
1955 |
ÌýºÌ |
¥Ï¡¼¥É¥Ü¡¼¥É |
ARAI, Tatsuo |
Vermilion in Vermilion |
ËÜ´Û3F |
|
|
| |
|
´ä¶¶±Ñ±ó |
¿ª¡Ê¤·¤ç¤¯¡Ë |
1959 |
ºÌ¿§ |
»æËÜ |
IWAHASHI, Eien |
Erosion |
ËÜ´Û3F |
|
|
| |
|
±Í¶å |
ÀÖ¤¤ÎØ |
1954 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
EI-KYU |
Red Circle |
ËÜ´Û3F |
|
|
| 69 |
|
²¬ËÜÂÀϺ |
dz¤¨¤ë¿Í |
1955 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
OKAMOTO, Taro |
Men Aflame |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| |
|
ÊÒ²¬µå»Ò |
³é¶Ä¡Ê¤«¤Ä¤®¤ç¤¦¡Ë |
1960 |
ºÌ¿§ |
»æËÜ |
KATAOKA, Tamako |
Great Longing |
ËÜ´Û3F |
|
|
| |
|
º«Ìî×ñ |
À¸Ä¹¤Î·ÁÂÖ No.1 |
1954 |
Àйѡ¢¥«¥·¥å¡¼ |
|
KONNO, Hisashi |
Form of Growth No.1 |
ËÜ´Û3F |
|
|
| |
|
Çòȱ°ìͺ |
Å··ÅÀ±拚Ì¿»°Ïº(¤Æ¤ó¤±¤¤¤»¤¤¤Ø¤ó¤á¤¤¤µ¤ó¤í¤¦)(¿åÞ÷ÅÁ¹ë·æ¤ÎÆâ) |
1964 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
SHIRAGA, Kazuo |
Hemmei Sanro, a hero of a Chinese story |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| |
|
ÅÄÃæÆØ»Ò |
ºîÉÊ 66 - SA |
1966 |
¥Ó¥Ë¡¼¥ë¼ù»é |
¥¥ã¥ó¥Ð¥¹ |
TANAKA, Atsuko |
Work 66 - SA |
ËÜ´Û3F |
|
|
| |
|
ÆñÇÈÅÄζµ¯ |
Å·ÂΤα¿¹Ô |
1956 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
NAMBATA, Tatsuoki |
Movement of Heavenly Body |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| |
|
¿·ºÊ¼Â |
´ã¤Î¾ë |
1965 |
ÂçÍýÀС¢ÌÚ¡¢¹ÝÅ´ |
|
NIIZUMA, Minoru |
Castle of the Eye |
ËÜ´Û3F |
|
|
| 75 |
|
Ê¿»³°êÉ× |
·úΩ¶â¹ä¿´¿Þ |
1963 |
ºÌ¿§ |
»æËÜ |
HIRAYAMA, Ikuo |
Enlightenment |
ËÜ´Û3F |
|
|
| |
|
¼°æÀµÀ¿ |
´é |
1959 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
MURAI, Masanari |
Face |
ËÜ´Û3F |
|
|
| |
|
»³¸ýĹÃË |
¹½À® |
1955 |
ÌýºÌ |
¹çÈÄ |
YAMAGUCHI, Takeo |
Composition |
ËÜ´Û3F |
|
|
| |
|
µÈÅÄÁ±É§ |
ÉٻηîÌÀ |
1964 |
ºÌ¿§ |
»æËÜ |
YOSHIDA, Yoshihiko |
Mt. Fuji in Moonlight |
ËÜ´Û3F |
|
|
| 78 |
|
µÈ¸¶¼£ÎÉ |
¹õÃϤËÇò |
1965 |
¥¢¥¯¥ê¥ê¥Ã¥¯ |
¥¥ã¥ó¥Ð¥¹ |
YOSHIHARA, Jiro |
White on Black |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| ÈDz襳¡¼¥Ê¡¼ Prints Section¡¡¡¡ÆÃ½¸¡¡¹â¶¶ÎÏͺ¡¡Rikio Takahashi |
| |
|
¹â¶¶ÎÏͺ |
Lyric(Spring) |
1957 |
ÌÚÈÇ(¿¿§) |
|
TAKAHASHI, Rikio |
Lyric(Spring) |
ËÜ´Û3F |
±üÅÄÀ¾Åλһá´ó£ |
|
| |
|
¹â¶¶ÎÏͺ |
Passing Nun(Buddhist) |
1958 |
ÌÚÈÇ(¿¿§) |
|
TAKAHASHI, Rikio |
Passing Nun(Buddhist) |
ËÜ´Û3F |
±üÅÄÀ¾Åλһá´ó£ |
|
| |
|
¹â¶¶ÎÏͺ |
²»³Ú(ǽ A) |
1960 |
ÌÚÈÇ(¿¿§) |
|
TAKAHASHI, Rikio |
Music (Noh Play A) |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| |
|
¹â¶¶ÎÏͺ |
Series Kyoto No.23 |
1962 |
ÌÚÈÇ(¿¿§) |
|
TAKAHASHI, Rikio |
Series Kyoto No.23 |
ËÜ´Û3F |
±üÅÄÀ¾Åλһá´ó£ |
|
| |
|
¹â¶¶ÎÏͺ |
ǽ |
1963 |
ÌÚÈÇ(¿¿§) |
|
TAKAHASHI, Rikio |
Noh Play |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| |
|
¹â¶¶ÎÏͺ |
Nest Water |
1966 |
ÌÚÈÇ(¿¿§) |
|
TAKAHASHI, Rikio |
Nest Water |
ËÜ´Û3F |
±üÅÄÀ¾Åλһá´ó£ |
|
| |
|
¹â¶¶ÎÏͺ |
Summer Vacation |
1966 |
ÌÚÈÇ(¿¿§) |
|
TAKAHASHI, Rikio |
Summer Vacation |
ËÜ´Û3F |
±üÅÄÀ¾Åλһá´ó£ |
|
| |
|
¹â¶¶ÎÏͺ |
Series Kyoto No.35 |
1966 |
ÌÚÈÇ(¿¿§) |
|
TAKAHASHI, Rikio |
Series Kyoto No.35 |
ËÜ´Û3F |
±üÅÄÀ¾Åλһá´ó£ |
|
| |
|
¹â¶¶ÎÏͺ |
Snow Garden |
1977 |
ÌÚÈÇ(¿¿§) |
|
TAKAHASHI, Rikio |
Snow Garden |
ËÜ´Û3F |
±üÅÄÀ¾Åλһá´ó£ |
|
| ¼Ì¿¿¥³¡¼¥Ê¡¼ Photograph Section ÆÃ½¸¡§¡¡¼Ì¿¿¤ÎÊ£¿ôÀ¡¡Multipleness of Photography |
| |
|
ÀиµÂÙÇî |
±À |
1991-95 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
ISHIMOTO, Yasuhiro |
Clouds |
ËÜ´Û3F |
|
|
| |
|
ÀиµÂÙÇî |
±À |
1991-95 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
ISHIMOTO, Yasuhiro |
Clouds |
ËÜ´Û3F |
|
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| |
|
ÀиµÂÙÇî |
±À |
1991-95 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
ISHIMOTO, Yasuhiro |
Clouds |
ËÜ´Û3F |
|
|
| |
|
ÀиµÂÙÇî |
±À |
1991-95 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
ISHIMOTO, Yasuhiro |
Clouds |
ËÜ´Û3F |
|
|
| |
|
ÀиµÂÙÇî |
±À |
1991-95 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
ISHIMOTO, Yasuhiro |
Clouds |
ËÜ´Û3F |
|
|
| |
|
ÀиµÂÙÇî |
±À |
1991-95 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
ISHIMOTO, Yasuhiro |
Clouds |
ËÜ´Û3F |
|
|
| |
|
°ËÆ£µÁɧ |
KAGE 8723 |
1987 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
ITO, Yoshihiko |
KAGE 8723 |
ËÜ´Û3F |
|
|
| |
|
°ËÆ£µÁɧ |
KAGE 8724 |
1987 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
ITO, Yoshihiko |
KAGE 8724 |
ËÜ´Û3F |
|
|
| |
|
ÂçÄÔÀ¶»Ê |
¡ÖÂçÄÔÀ¶»Ê¥Ý¡¼¥È¥Õ¥©¥ê¥ª¡×¤è¤ê¡¡ÀéÂÌ¥öë |
1956 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
OHTSUJI, Kiyoji |
Sendagaya from "Kiyoji Ohtsuji Portfolio" |
ËÜ´Û3F |
|
|
| |
|
ËÌÌ |
¡Öour face¡×¤è¤ê Ï²λ³¸©¹âÌÀ콤³Ø±¡¤Î¿¿¸ÀÌ©¶µÁÎη35¿Í¤ò½Å¤Í¤¿¾ÓÁü |
2003 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
KITANO, Ken |
Piling Portraits of 35 Esoteric Buddhist Monks of the Shingon Sect Studying at KOHYA Mountain Specialty School, Wakayama from ¡Èour face¡É |
ËÜ´Û3F |
|
|
| |
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ËÌÌ |
¡Öour face¡×¤è¤ê Ë̳¤Æ»ÅìÀîÄ®ÍÄ»ù¥»¥ó¥¿¡¼¤Î»Ò¶¡¤¿¤Á63¿Í¤ò½Å¤Í¤¿¾ÓÁü |
2004 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
KITANO, Ken |
Piling Portraits of 63 Children at the Child Center of Higashikawa Town, Hokkaido from ¡Èour face¡É |
ËÜ´Û3F |
|
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| |
|
¥¹¥Æ¥£¡¼¥°¥ê¥Ã¥Ä¡¢ ¥¢¥ë¥Õ¥ì¥Ã¥É |
»°ÅùÁ¥¼¼ |
1907¡Ê1911ǯ¥×¥ê¥ó¥È¡Ë |
¥Õ¥©¥È¥°¥é¥ô¥å¡¼¥ë |
|
STIEGLITZ, Alfred |
The Steerage |
ËÜ´Û3F |
¥¸¥ç¡¼¥¸¥¢¡¦¥ª¥¡¼¥Õ»á´ó£ |
|
| |
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¥¹¥Æ¥£¡¼¥°¥ê¥Ã¥Ä¡¢ ¥¢¥ë¥Õ¥ì¥Ã¥É |
»°ÅùÁ¥¼¼ |
1907¡Ê1915ǯ¥×¥ê¥ó¥È¡Ë |
¥Õ¥©¥È¥°¥é¥ô¥å¡¼¥ë |
|
STIEGLITZ, Alfred |
The Steerage |
ËÜ´Û3F |
¥¸¥ç¡¼¥¸¥¢¡¦¥ª¥¡¼¥Õ»á´ó£ |
|
| |
|
¥¹¥Æ¥£¡¼¥°¥ê¥Ã¥Ä¡¢ ¥¢¥ë¥Õ¥ì¥Ã¥É |
»°ÅùÁ¥¼¼ |
1907(1924-32ǯº¢¥×¥ê¥ó¥È¡Ë |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
STIEGLITZ, Alfred |
The Steerage |
ËÜ´Û3F |
¥¸¥ç¡¼¥¸¥¢¡¦¥ª¥¡¼¥Õ»á´ó£ |
|
| |
|
¹âÌÚÍ³Íø»Ò |
¡Öº®Í𤹤ë°úÎϡפè¤ê Fourty-One Weeks, Negara |
1992 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
TAKAGI, Yuriko |
Fourty-One Weeks, Negara from "Confused Gravitation" |
ËÜ´Û3F |
|
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| |
|
Åļ¾´±Ñ |
Æ» |
1976-81 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
TAMURA, Akihide |
Road |
ËÜ´Û3F |
ºî¼Ô´ó£ |
|
| |
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¥Ù¥Ã¥Ò¥ã¡¼¡¢ ¥Ù¥ë¥ó¥È ¡õ ¥Ò¥é |
¥¬¥¹¥¿¥ó¥¯¡Ý¥¤¥®¥ê¥¹¡¢¥Ù¥ë¥®¡¼¡¢¥Õ¥é¥ó¥¹¡¢¥É¥¤¥Ä |
1981 |
¥¼¥é¥Á¥ó¡¦¥·¥ë¥Ð¡¼¡¦¥×¥ê¥ó¥È |
|
BECHER, Bernd & Hilla |
Gas Holders - Great Britain, Belgium, France, Germany |
ËÜ´Û3F |
|
|
| Âè5¾Ï¡¡¸½ÂåÈþ½Ñ¡Ý1970ǯÂå°Ê¹ß¡¡¹ Contemporary Art after the 1970s |
| |
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¥¢¥ë¥Ð¡¼¥¹¡¢ ¥¸¥ç¥»¥Õ |
ÀµÊý·Á»¾²Î |
1959 |
ÌýºÌ |
¥¥ã¥ó¥Ð¥¹ |
ALBERS, Josef |
Homage to the Square |
ËÜ´Û2F |
|
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| |
|
¥¢¥ë¥Ð¡¼¥¹¡¢ ¥¸¥ç¥»¥Õ |
¡Ö·ÁÀ®¡¦Ï¢ÀÜ¡¡ÂèII½¸¡×¤è¤ê 6 |
1972 |
¥·¥ë¥¯¥¹¥¯¥ê¡¼¥ó |
|
ALBERS, Josef |
6. from "Formulation: Articulation II" |
ËÜ´Û2F |
¥ê¡¼¡¦V.¥¤¡¼¥¹¥È¥Þ¥ó»á´ó£ |
|
| |
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¥¢¥ë¥Ð¡¼¥¹¡¢ ¥¸¥ç¥»¥Õ |
¡Ö·ÁÀ®¡¦Ï¢ÀÜ¡¡ÂèII½¸¡×¤è¤ê 9 |
1972 |
¥·¥ë¥¯¥¹¥¯¥ê¡¼¥ó |
|
ALBERS, Josef |
9. from "Formulation: Articulation II" |
ËÜ´Û2F |
¥ê¡¼¡¦V.¥¤¡¼¥¹¥È¥Þ¥ó»á´ó£ |
|
| |
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¥¢¥ë¥Ð¡¼¥¹¡¢ ¥¸¥ç¥»¥Õ |
¡Ö·ÁÀ®¡¦Ï¢ÀÜ¡¡ÂèII½¸¡×¤è¤ê 17 |
1972 |
¥·¥ë¥¯¥¹¥¯¥ê¡¼¥ó |
|
ALBERS, Josef |
17. from "Formulation: Articulation II" |
ËÜ´Û2F |
¥ê¡¼¡¦V.¥¤¡¼¥¹¥È¥Þ¥ó»á´ó£ |
|
| |
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¥¢¥ë¥Ð¡¼¥¹¡¢ ¥¸¥ç¥»¥Õ |
¡Ö·ÁÀ®¡¦Ï¢ÀÜ¡¡ÂèII½¸¡×¤è¤ê 21 |
1972 |
¥·¥ë¥¯¥¹¥¯¥ê¡¼¥ó |
|
ALBERS, Josef |
21. from "Formulation: Articulation II" |
ËÜ´Û2F |
¥ê¡¼¡¦V.¥¤¡¼¥¹¥È¥Þ¥ó»á´ó£ |
|
| |
|
±ÝÁÒ¹¯Æó |
´³¾Ä(STORY-No.18) |
1991 |
¥¢¥¯¥ê¥ê¥Ã¥¯ |
ÌÊÉÛ¡¢ÌÚ |
ENOKURA, Koji |
Interference (STORY-No.18) |
ËÜ´Û2F |
|
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| |
|
¥ª¥Ô¡¼¡¢¡¡¥¸¥å¥ê¥¢¥ó |
¡ÖÆüËÜȬ·Ê¡×¤è¤ê¡¡¹ñƻɴ»°½½Ï»¹æÀþ¤«¤é¸«¤ë±«¤Î¾¾ºê¹Á |
2007 |
±Õ¾½¥â¥Ë¥¿¡¼2Âæ¡¢¥³¥ó¥Ô¥å¡¼¥¿¡¼ |
|
OPIE, Julian |
Matsuzaki Bay in the Rain from Route 136. From "Eight Views of Japan." |
ËÜ´Û2F |
|
|
| |
|
¥ª¥Ô¡¼¡¢¡¡¥¸¥å¥ê¥¢¥ó |
¡ÖÆüËÜȬ·Ê¡×¤è¤ê¡¡¹ñÆ»»°É´¹æÀþ¤«¤é¤ß¤ëËÜÀ´¸Ð¤ÎÉٻλ³ |
2007 |
±Õ¾½¥â¥Ë¥¿¡¼2Âæ¡¢¥³¥ó¥Ô¥å¡¼¥¿¡¼ |
|
OPIE, Julian |
View of Lake Motosu and Mount Fuji from Route 300. From "Eight Views of Japan. " |
ËÜ´Û2F |
|
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| |
|
¥ª¥Ô¡¼¡¢¡¡¥¸¥å¥ê¥¢¥ó |
¡ÖÆüËÜȬ·Ê¡×¤è¤ê¡¡¹ñÆ»¸Þ½½Æó¹æÀþ¤«¤éÆîÉô¶¶¤ò¤Î¤¾¤à |
2007 |
±Õ¾½¥â¥Ë¥¿¡¼1Âæ¡¢¥³¥ó¥Ô¥å¡¼¥¿¡¼ |
|
OPIE, Julian |
View of Nambu Bridge from Route 52.¡¡From" Eight Views of Japan." |
ËÜ´Û2F |
|
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| |
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¥ª¥Ô¡¼¡¢¡¡¥¸¥å¥ê¥¢¥ó |
¡ÖÆüËÜȬ·Ê¡×¤è¤ê¡¡¿¿ÄáȾÅç¤Î¾å¤Î·î |
2007 |
±Õ¾½¥â¥Ë¥¿¡¼2Âæ¡¢¥³¥ó¥Ô¥å¡¼¥¿¡¼ |
|
OPIE, Julian |
Moon Over Manazuru Peninsula. ¡¡From "Eight Views of Japan." |
ËÜ´Û2F |
|
|
| |
|
¥¯¥é¥Ã¥°¡¢ ¥È¥Ë¡¼ |
¥á¡¼¥¿¡¼(·×¬´ï) |
2003 |
ÌÚ |
|
CRAGG, Tony |
The Meter |
ËÜ´Û2F |
|
|
| 90 |
|
¥´¡¼¥à¥ê¡¼¡¢ ¥¢¥ó¥È¥Ë¡¼ |
È¿±Ç¡¿»×º÷ |
2000 |
ÃòÅ´ |
|
GORMLEY, Antony |
Reflection |
ËÜ´Û2F |
|
|
| |
|
¹â¾¾¼¡Ïº |
±ó¶áË¡¤Î°Ø»Ò¤È¥Æ¡¼¥Ö¥ë |
1966-67 |
ÌÚ¡¢¥é¥Ã¥«¡¼ |
|
TAKAMATSU, Jiro |
Chairs and the Table in Perspective |
ËÜ´Û2F |
|
|
| |
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¹â¾¾¼¡Ïº |
µÕ±ó¶áË¡¤Î¥Ù¥ó¥Á |
1967 |
¥·¥ë¥¯¥¹¥¯¥ê¡¼¥ó |
|
TAKAMATSU, Jiro |
Benches in Reversed Perspective |
ËÜ´Û2F |
|
|
| 83 |
|
¹â¾¾¼¡Ïº |
No.273(±Æ) |
1969 |
¥é¥Ã¥«¡¼ |
ÌÚ |
TAKAMATSU, Jiro |
No.273 (Shadow) |
ËÜ´Û2F |
|
|
| |
|
È«»³Ä¾ºÈ |
Àî¤ÎÏ¢ºî |
1993-96 |
¥¿¥¤¥×C¥×¥ê¥ó¥È |
|
HATAKEYAMA, Naoya |
River Series |
ËÜ´Û2F |
|
|
| |
|
¥Ó¥å¥ì¥ó¡¢ ¥À¥Ë¥¨¥ë |
¥Õ¥ì¡¼¥à¤ÎÃæ¤Î¥Õ¥ì¡¼¥à¤ÎÃæ¤Î¥Õ¥ì¡¼¥à No.43 ¥ß¥É¥ê |
1988 |
¥«¥Ã¥Æ¥£¥ó¥°¥·¡¼¥È¡¢¥¬¥é¥¹ |
|
BUREN, Daniel |
A Frame in a Frame in a Frame No.43 Midori |
ËÜ´Û2F |
|
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| |
|
¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
|
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| |
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¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
ºî¼Ô´ó£ |
|
| |
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¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
|
|
| |
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¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
ºî¼Ô´ó£ |
|
| |
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¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
ºî¼Ô´ó£ |
|
| |
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¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
ºî¼Ô´ó£ |
|
| |
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¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
ºî¼Ô´ó£ |
|
| |
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¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
|
|
| |
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¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
|
|
| |
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¥Õ¥ì¥¯¥¹¥Ê¡¼¡¢¥í¥é¥ó |
̵Âê |
2001 |
¥¤¥ó¥¯¡¢Àи´ |
Ⱦ |
FLEXNER, Roland |
Untitled |
ËÜ´Û2F |
|
|
| 82 |
|
»°ÌÚÉÙͺ |
EAR |
1965 |
¥¢¥ë¥ß¥Ë¥¦¥à |
|
MIKI, Tomio |
EAR |
ËÜ´Û2F |
|
|
| |
|
¼²¬»°Ïº |
Àޤ줿»ÀÁÇ |
1985 |
±ô¡¢»ÀÁÇ¡¢¥¬¥é¥¹ÉÓ¡¢ÅÔ»Ô¥¬¥¹(1963ǯ¤ËÃíÆþ¡¢Éõ°õ) |
|
MURAOKA, Saburo |
Bent Oxygen |
ËÜ´Û2F |
|
|
| |
|
¼²¬»°Ïº |
ÍÐÃÇ¡½1380¡ëC¡ß11000mm |
1986 |
¹ÝÅ´ |
|
MURAOKA, Saburo |
A Torch Cutting¡½1380¡ëC¡ß11000mm |
ËÜ´Û2F |
|
|
| |
|
»³Ãæ¿®É× |
¥Þ¥ó¥Ï¥Ã¥¿¥ó¤ÎÂÀÍÛ (1) |
1980 |
¥¿¥¤¥×C¥×¥ê¥ó¥È |
|
YAMANAKA, Nobuo |
Manhattan in Pinhole (1) |
ËÜ´Û2F |
|
|
| |
|
»³Ãæ¿®É× |
¥Þ¥ó¥Ï¥Ã¥¿¥ó¤ÎÂÀÍÛ (7) |
1980 |
¥¿¥¤¥×C¥×¥ê¥ó¥È |
|
YAMANAKA, Nobuo |
Manhattan in Pinhole (7) |
ËÜ´Û2F |
|
|
| |
|
»³Ãæ¿®É× |
¥Þ¥ó¥Ï¥Ã¥¿¥ó¤ÎÂÀÍÛ (12) |
1980 |
¥¿¥¤¥×C¥×¥ê¥ó¥È |
|
YAMANAKA, Nobuo |
Manhattan in Pinhole (12) |
ËÜ´Û2F |
|
|
| |
|
»³Ãæ¿®É× |
¥Þ¥ó¥Ï¥Ã¥¿¥ó¤ÎÂÀÍÛ (13) |
1980 |
¥¿¥¤¥×C¥×¥ê¥ó¥È |
|
YAMANAKA, Nobuo |
Manhattan in Pinhole (13) |
ËÜ´Û2F |
|
|
| |
|
»³Ãæ¿®É× |
¥Þ¥ó¥Ï¥Ã¥¿¥ó¤ÎÂÀÍÛ (15) |
1980 |
¥¿¥¤¥×C¥×¥ê¥ó¥È |
|
YAMANAKA, Nobuo |
Manhattan in Pinhole (15) |
ËÜ´Û2F |
|
|
| |
|
»³Ãæ¿®É× |
¥Þ¥ó¥Ï¥Ã¥¿¥ó¤ÎÂÀÍÛ (31) |
1980 |
¥¿¥¤¥×C¥×¥ê¥ó¥È |
|
YAMANAKA, Nobuo |
Manhattan in Pinhole (31) |
ËÜ´Û2F |
|
|
| ²°³°Ä¦¹ï¡¡Outdoor Sculptures |
| |
|
ÌÚ¼¸ÂÀϺ |
¼·¤Ä¤Îµ§¤ê |
1969 |
ÀÐ |
|
KIMURA, Kentaro |
Seven Prayers |
ËÜ´Û²°³° |
|
|
| |
|
¿ÅÄÈþÇÈ |
Chiaroscuro |
1979 |
¥¹¥Æ¥ó¥ì¥¹¥¹¥Á¡¼¥ë¡¢¹Å¼Á¥¬¥é¥¹ |
|
TADA, Minami |
Chiaroscuro |
ËÜ´Û²°³° |
|
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| 84 |
|
¥Î¥°¥Á¡¢ ¥¤¥µ¥à |
Ìç |
1969 |
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|
NOGUCHI, Isamu |
Gate |
ËÜ´Û²°³° |
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¥Þ¥ê¡¼¥Ë¡¢ ¥Þ¥ê¥Î |
¤¢¤ë¥¤¥á¡¼¥¸¤Î¹½ÁÛ |
1969-70 |
¥Ö¥í¥ó¥º |
|
MARINI, Marino |
The Idea of an Image |
ËÜ´Û²°³° |
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