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Israeli sculpture designates sculpture produced in the Land of Israel from 1906, the year the "Bezalel School of Arts and Crafts" (today called the Bezalel Academy of Art and Design) was established. The process of crystallization of Israeli sculpture was influenced at every stage by international sculpture. In the early period of Israeli sculpture, most of its important sculptors were immigrants to the Land of Israel, and their art was a synthesis of the influence of European sculpture with the way in which the national artistic identity developed in the Land of Israel and later in the State of Israel. Efforts toward the development of a local style of sculpture began in the late 1930s, with the creation of "Caananite" sculpture, which combined influences from European sculpture with motifs taken from the East, and particularly from Mesopotamia. These motifs were formulated in national terms and strived to present the relationship between Zionism and the soil of the homeland. In spite of the aspirations of abstract sculpture, which blossomed in Israel in the middle of the 20th century under the influence of the "New Horizons" movement and attempted to present sculpture that spoke a universal language, their art included many elements of earlier "Caananite" sculpture. In the 1970s, many new elements found their way into Israeli art and sculpture, under the influence of international conceptual art. These techniques significantly changed the definition of sculpture. In addition, these techniques facilitated the expression of political and social protest, which up to this time had been downplayed in Israeli sculpture. ==History== An attempt to find indigenous 19th century Israeli sources for the development of "Israeli" sculpture is problematic from two points of view. First, both the artists and Jewish society in the Land of Israel were lacking the national Zionist motifs which would accompany the development of Israeli sculpture in the future. This applies, of course, also to non-Jewish artists of the same period. Second, art history research has failed to find a tradition of sculpture either among the Jewish communities of the Land of Israel or among the Arab or Christian residents of that period. In research conducted by Yitzhak Einhorn, Haviva Peled, and Yona Fischer, artistic traditions of this period were identified, which include ornamental art of a religious (Jewish and Christian) nature, which was created for pilgrims and, therefore, for both export and local needs. These objects included decorated tablets, embossed soaps, seals, etc. with motifs borrowed for the most part from the tradition of graphic art.〔See, Yona Fischer (Ed.), Art and Art in the Land of Israel in the Nineteenth Century (Jerusalem, The Israel Museum, 1979). (Hebrew ) 〕 In his article "Sources of Israeli Sculpture"〔Gideon Ophrat, Sources of the Land of Israel Sculpture, 1906-1939 (Herzliya: Herzliya Museum, 1990). (Hebrew ) 〕 Gideon Ophrat identified the beginning of Israeli sculpture as the founding of the Bezalel School in 1906. At the same time he identified a problem in trying to present a unified picture of that sculpture. The reasons were the variety of European influences on Israeli sculpture, and the relatively small number of sculptors in Israel, most of whom had worked for long periods in Europe. At the same time, even at the Bezalel – a school of art founded by a sculptor - sculpture was considered a lesser art, and the studies there concentrated on the art of painting and the crafts of graphic and design. Even in the "New Bezalel", founded in 1935, Sculpture did not occupy a significant place. While it's true that a department of sculpture was set up in the new school, it closed a year later, because it was viewed as a tool to help students learn three-dimensional design and not as an independent department. In its place a department of pottery〔See, Gideon Efrat, The New Bezalel, 1935-1955 (Jerusalem: Bezalel Academy of Art and Design, 1987) pp. 128-130. (Hebrew )〕 opened and flourished. There were exhibitions by individual sculptors during these years both in the Bezalel Museum and in the Tel Aviv Museum, but these were exceptions and were not indicative of the general attitude toward three-dimensional art. An ambiguous attitude toward sculpture by the artistic establishment could be felt, in various incarnations, well into the 1960s. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Israeli sculpture」の詳細全文を読む スポンサード リンク
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