{"created":"2023-06-20T15:59:06.564478+00:00","id":4134,"links":{},"metadata":{"_buckets":{"deposit":"360602b4-58e1-454f-b49c-556a72ccc771"},"_deposit":{"created_by":17,"id":"4134","owners":[17],"pid":{"revision_id":0,"type":"depid","value":"4134"},"status":"published"},"_oai":{"id":"oai:minpaku.repo.nii.ac.jp:00004134","sets":["345:414"]},"author_link":["6533"],"item_9_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1998-10-30","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"1","bibliographicPageEnd":"93","bibliographicPageStart":"35","bibliographicVolumeNumber":"23","bibliographic_titles":[{"bibliographic_title":"国立民族学博物館研究報告"},{"bibliographic_title":"Bulletin of the National Museum of Ethnology","bibliographic_titleLang":"en"}]}]},"item_9_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"グァテマラの観光地のひとつアティトラソ湖地方の2つのマヤ系のコミュニ\nティーは,「マヤの伝統的生活」を描くインディヘナの油彩画家の存在によっ\nて知られている。本稿は,彼らの絵画の生産・流通・消費のプロセスを,「イ\nンディヘナ芸術」と「インディヘナ文化」をめぐる「交渉」(negotiation)の\n場として分析する。そこでは,「インディヘナ画家」として「インディヘナ絵\n画」を制作・販売することを余儀なくされている彼らが,一方で,西洋近代的\nな芸術=文化システムによる「芸術(家)」としての認知を求めつつ,他方で,\nそのようなかたちで理解=消化されてしまわない差異を生産している点につい\nて,同様に「コンタクトゾーン」で絵画を生産している他の事例をも参照して\n考察する。","subitem_description_type":"Abstract"},{"subitem_description":"Two Mayan communities, Santiago Atitlan and San Pedro la\nLaguna, are located on Lake Atitlan, one of the most popular tourist\nspots in Guatemala. These two communities are famous for their professional\nindigenous painters, who produce oil paintings depicting 'traditional\nMayan ways of life.' This paper will discuss the processes of production,\ncirculation and consumption of those paintings, as sites of\n'negotiation' about the meaning of Mayan 'art' and their 'culture\n.'\nThe Western art world has played a dominant role as gatekeeper in\nthe recognition and disavowal of artists and works of art around the\nworld. It works within the discourse of the modern 'Art—Culture\nSystem' (Clifford 1988), which has long been hegemonic in the West's\nappropriation of non—Western objects. Even in this era of\n`Postmodern' dissemination and decentralization this is still the case .\nThe objects produced in the non-West have been either recognized and\ncollected as `authentic' artifacts/works of art, or disavowed as 'inauthentic,'\nunworthy of collecting. The most salient problem of this whole\nsystem is the lack of reciprocity between dominant players and subordinate\nones, and the fact that this inequality has been naturalized.\nMayan indigenous oil paintings are commodities in two different\nmarkets; they may be consumed either as `works of art' or as `tourist\nsouvenirs.' The painters try to negotiate with potential buyers about the\nprice and the artistic value of their work. However, their subordinate\neconomic position forces them to compromise both artistically and\neconomically. The most popular subject among the consumers (art\ndealers as well as tourists) is costumbre, the Mayan `traditional folk\nlife,' and the painters cannot help but meet the consumers' demand. At\nthe same time, painting costumbre is nevertheless the painters' conscious\nsignifying practice, which produces differences, and as such is indigestible\nfor the Western discourse of art and artist. Thus, the indigenous\npaintings are commodities made for sale and, at the same time, creative\nexpressions of the producers.\n. This situation is not unique to Guatemalan indigenous painters. Artists,\nnot recognized as such, in the non-West are producing their work\nunder similar conditions. This paper examines three similar cases:\nAustralian aboriginal acrylic paintings; African `tourist art' and\n`popular art' from Cote d'Ivoire and Zaire; and Balinese peasants'\npaintings in the 1930s.\nAll these paintings are `bicultural products,' born under the unequal\ndistribution of power in `contact zones.' They are considered lacking in\nuniversal artistic value or are digested as an exotic but intelligible\ndifference by the Western art world and tourism. Western painting\ntechniques are borrowed by those painters, who appropriate them to invent\nnew ways of representing their life, culture, tradition, or history.\nBeing made for sale, these paintings are subordinated to the market law\nof supply and demand, but these transactions are simultaneously cultural\nnegotiations between contesting signifying practices.\nThis paper concludes with a few remarks on the importance of giving\na voice to those unacknowledged producers of art, who are\nnegotiating, on a daily basis, their position as subaltern artists, in order\nto explore the fertility of human artistic expression, once it has been\nreleased from hegemonic Western artistic conventions.","subitem_description_type":"Abstract"}]},"item_9_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.15021/00004126","subitem_identifier_reg_type":"JaLC"}]},"item_9_publisher_33":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"国立民族学博物館"}]},"item_9_publisher_34":{"attribute_name":"出版者（英）","attribute_value_mlt":[{"subitem_publisher":"National Museum of Ethnology"}]},"item_9_source_id_10":{"attribute_name":"書誌レコードID","attribute_value_mlt":[{"subitem_source_identifier":"AN00091943","subitem_source_identifier_type":"NCID"}]},"item_9_source_id_8":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"0385-180X","subitem_source_identifier_type":"ISSN"}]},"item_9_version_type_16":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"古谷, 嘉章"},{"creatorName":"フルヤ, ヨシアキ","creatorNameLang":"ja-Kana"},{"creatorName":"Furuya, Yoshiaki","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2015-11-19"}],"displaytype":"detail","filename":"KH_023_1_002.pdf","filesize":[{"value":"7.3 MB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"KH_023_1_002.pdf","url":"https://minpaku.repo.nii.ac.jp/record/4134/files/KH_023_1_002.pdf"},"version_id":"9bdb3c6f-fd97-4b89-8219-ac65e50e4a3b"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"芸術一文化システム｜交渉｜グァテマラ｜インディヘナ｜マヤ｜油絵｜観光","subitem_subject_scheme":"Other"},{"subitem_subject":"Art-Culture System｜negotiation｜Guatemala｜indigena｜Maya｜oil paintings｜tourism","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"芸術／文化をめぐる交渉 : グァテマラのインディヘナ画家たち","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"芸術／文化をめぐる交渉 : グァテマラのインディヘナ画家たち"},{"subitem_title":"Negotiating Art/Culture : Guatemalan Indigenous Painters","subitem_title_language":"en"}]},"item_type_id":"9","owner":"17","path":["414"],"pubdate":{"attribute_name":"公開日","attribute_value":"2010-02-16"},"publish_date":"2010-02-16","publish_status":"0","recid":"4134","relation_version_is_last":true,"title":["芸術／文化をめぐる交渉 : グァテマラのインディヘナ画家たち"],"weko_creator_id":"17","weko_shared_id":-1},"updated":"2023-06-20T17:19:04.047148+00:00"}