{"id":"surrealism","no":320,"name":"Surrealism","ja":"シュルレアリスム","era":"1924–1950s","family":"前衛","kind":"スタイル","collection":"Dictionary expansion 16","addedAt":"2026-08-18","source":{"title":"MoMA — Surrealism","url":"https://www.moma.org/collection/terms/surrealism"},"reference":{"status":"verified","pageUrl":"https://www.moma.org/collection/terms/surrealism","credit":"MoMA — Surrealism","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Un%20Chien%20Andalou%20title.png?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Un%20Chien%20Andalou%20title.png","credit":"『アンダルシアの犬』タイトル 1929"}]},"essence":"夢と無意識の論理で現実の物同士を異常に出会わせる運動。デペイズマン（置き違え）の手法は絵画から写真・映画・広告へ広がり、視覚表現の「ありえない隣接」の文法になった。","cues":["デペイズマン","夢の遠近法","物体の変容","精密描写と不条理の同居"],"intents":["反骨","遊び","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":["dada","german-expressionism-film"],"study":["アンドレ・ブルトンの宣言","マグリットと広告の相互浸透","写真のシュルレアリスム（アジェ再発見）"],"en":{"essence":"The movement that forced reality's objects into impossible meetings under the logic of dream and the unconscious. Dépaysement spread from painting into photography, film and advertising as the grammar of impossible adjacency.","cues":["Dépaysement","Dream perspective","Objects transformed","Precision serving absurdity"],"works":["Comparing primary sources and canonical works","Extracting principles that transfer to other media"],"recipe":{"type":"Observe the letters, signs and scale of reference works","layout":"Extract the one structure that governs gaze and information","material":"Verify the materials and behaviors specific to era, region and process"},"avoid":"Don't reduce it to surface signs. Verify the context of era, region, technology and makers.","study":["Breton's manifestos","Magritte and advertising's mutual seepage","surrealist photography and the rediscovery of Atget"]}}