{"id":"cloisonnism","no":464,"name":"Cloisonnism","ja":"クロワゾニスム","era":"1888–1895","family":"象徴と装飾","kind":"スタイル","collection":"Dictionary expansion 23","addedAt":"2026-08-18","source":{"title":"Wikipedia — Cloisonnism","url":"https://en.wikipedia.org/wiki/Cloisonnism"},"reference":{"status":"verified","pageUrl":"https://en.wikipedia.org/wiki/Cloisonnism","credit":"Wikipedia — Cloisonnism","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/La%20vision%20apr%C3%A8s%20le%20sermon%20(Paul%20Gauguin).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:La%20vision%20apr%C3%A8s%20le%20sermon%20(Paul%20Gauguin).jpg","credit":"Paul Gauguin《説教のあとの幻影》1888 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Emile%20Bernard%2C%20Apple%20Pickers%20at%20Pont-Aven%2C%201888.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Emile%20Bernard%2C%20Apple%20Pickers%20at%20Pont-Aven%2C%201888.jpg","credit":"Émile Bernard《ポン=タヴェンのりんご摘み》1888 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/%C3%89mile%20Bernard%201888-08%20-%20Breton%20Women%20in%20the%20Meadow%20(Le%20Pardon%20de%20Pont-Aven).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:%C3%89mile%20Bernard%201888-08%20-%20Breton%20Women%20in%20the%20Meadow%20(Le%20Pardon%20de%20Pont-Aven).jpg","credit":"Émile Bernard《牧場のブルターニュの女たち》1888 — Wikimedia Commons / Public domain"}]},"essence":"七宝の仕切り線から名を得た、太い輪郭線で囲った平坦な色面による描法。浮世絵とステンドグラスの見方を油彩へ持ち込み、陰影による立体を捨てて記憶の中の色を置く。ポスターの平面性を準備した技法。","cues":["太く暗い輪郭線","陰影のない平坦な色面","装飾的に単純化された形","記憶の色による彩色"],"intents":["高級","親密","静けさ"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["japonisme","art-nouveau"],"study":["ベルナールとアンクタンの実験","ジャポニスムの受容","サンテティスム（総合主義）との関係"],"en":{"essence":"A manner of painting named after the partitions of cloisonné enamel: flat fields of colour enclosed by heavy contour lines. It brought the way of seeing of ukiyo-e prints and stained glass into oil painting, abandoning shaded volume in favour of colour laid down from memory. The technique that prepared the flatness of the poster.","cues":["Thick, dark contour lines","Flat colour fields without shading","Decoratively simplified shapes","Colouring drawn from memory"],"works":["Flat illustration systems with bold keylines for packaging and posters","Stained-glass-like brand iconography built from enclosed colour cells"],"recipe":{"type":"Sturdy hand-lettered or slab forms whose outlines match the drawing's keyline weight","layout":"Shapes simplified into enclosed cells, tiled edge to edge like leaded glass","material":"Flat unmodulated colour inside dark contour lines; no cast shadow, no gradient"},"avoid":"Avoid re-admitting shading or atmospheric depth inside the cells; the moment volume returns, the enamel-like flatness breaks.","study":["The experiments of Bernard and Anquetin","The reception of Japonisme","The relationship with Synthetism"]}}