《つくる》と《ゆく》に見るイサム・ノグチのモダニズムとその限界：広島平和記念公園のための平和大橋と西平和大橋の欄干デザインをめぐって

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タイトル別名
  • Isamu Noguchi’s Modernism and Its Limitation in Tsukuru and Yuku: Handrails of the Peace Bridge and the West Peace Bridge for the Hiroshima Peace Memorial Park
  • Journal of the Graduate School of Humanities and Sciences

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抄録

In the early 1950s, the Japanese-American sculptor Isamu Noguchi (1904-1988) designed handrails for two bridges, the Peace Bridge and the West Peace Bridge, for the Peace Memorial Park in Hiroshima. The construction of the park, initiated by the architect Kenzo Tange, was conducted within a post-war sentiment in Japan that sought a pacifist identity of the nation to replace the wartime fascist image. Noguchi’s participation was appreciated in accordance with the international appeal of the city’s reconstruction project. 　This paper examines some of Noguchi’s photographs of Jantar Mantar, India, during his post-war travels, the Bollingen Journey, as potential image sources of his handrails. Although critical of the modernist idea of ‘art’s autonomy’, Noguchi saw ‘universality’ within the abstract form and presumably applied this idea when he was working for Hiroshima. While his handrails had been appreciated journalistically as a symbol of the reconstructed city, some voices suggested suspicion about the sense of alienation that the modernist design brought. The discord between Noguchi’s utopian thought and the reception of his art marks the limitation of the modernist aesthetics that aspired for the ubiquity of art.

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  • 人間文化創成科学論叢

    人間文化創成科学論叢 22 29-38, 2020-03-31

    お茶の水女子大学大学院人間文化創成科学研究科

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