{"title":"视觉证据在中国艺术史新视角中的作用——Ōmura Seigai的两部中国美术史研究","authors":"Goto Ryoko","doi":"10.1080/14434318.2021.1934773","DOIUrl":null,"url":null,"abstract":"The Formation of Chinese Painting History and Reception of Chinese Painting in Japan A systematic history of Chinese painting was first established at the beginning of the modern era in Japan. Considering the long history of Sino–Japan relations, this was effectively the first time Japan changed its role from being a receiver to an originator of intellectual discourse. Japan’s modern era also marked a turning point in the country’s reception of Chinese painting. In considering the relationship between these two phenomena, the role of Japanese art historian Omura Seigai 大 村西崖 (1868–1927) is particularly interesting. As a graduate of the inaugural year at the Tokyo School of Fine Arts, Omura had studied art history from Ernest Fenollosa (1853–1908) and Okakura Tenshin 岡倉天心 (n e Okakura Kakuz o 覚三, 1863–1913). He would go on to become an art historian who applied the principles he learnt from the modern discipline of art history to his research on the history of ‘Oriental’ 東洋 (t oy o) or Asian art (in which ‘Asia’ primarily comprised China and Japan). Omura authored two volumes on the history of Chinese painting. Published fifteen years apart, these two histories illustrate a shift that occurred in the perception of Chinese painting, which impacted its reception in modern Japan. It is necessary to first explain the close and complex relationship between studies of Chinese painting history by Chinese and Japanese researchers. When it comes to Chinese art history in the modern sense of the term, whether relating to painting or sculpture, the work of Japanese researchers, in fact, initially preceded and influenced that of their Chinese peers. Moreover, among the Japanese publications, Omura’s can be considered pioneering. 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Japan’s modern era also marked a turning point in the country’s reception of Chinese painting. In considering the relationship between these two phenomena, the role of Japanese art historian Omura Seigai 大 村西崖 (1868–1927) is particularly interesting. As a graduate of the inaugural year at the Tokyo School of Fine Arts, Omura had studied art history from Ernest Fenollosa (1853–1908) and Okakura Tenshin 岡倉天心 (n e Okakura Kakuz o 覚三, 1863–1913). He would go on to become an art historian who applied the principles he learnt from the modern discipline of art history to his research on the history of ‘Oriental’ 東洋 (t oy o) or Asian art (in which ‘Asia’ primarily comprised China and Japan). Omura authored two volumes on the history of Chinese painting. Published fifteen years apart, these two histories illustrate a shift that occurred in the perception of Chinese painting, which impacted its reception in modern Japan. 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引用次数: 0
摘要
中国绘画史的形成与日本对中国绘画史的接受系统的中国绘画史最早是在近代初期在日本建立起来的。考虑到中日关系的悠久历史,这实际上是日本第一次将其角色从知识话语的接受者转变为创造者。日本近代也标志着该国接受中国画的一个转折点。在考虑这两种现象之间的关系时,日本艺术史学家大村诚井(1868-1927)所扮演的角色尤其有趣。作为东京美术学院第一年的毕业生,大村从欧内斯特·菲诺洛萨(Ernest Fenollosa, 1853-1908)和冈仓天心(Okakura Kakuz o, 1863-1913)那里学习了艺术史。他后来成为一名艺术史学家,将他从现代艺术史学科中学到的原则应用到他对“东方”或亚洲艺术史(其中“亚洲”主要包括中国和日本)的研究中。大村写了两卷中国绘画史。这两本相隔15年出版的历史书说明了中国绘画观念的转变,这影响了近代日本对中国绘画的接受。首先有必要说明中日研究者在中国绘画史研究上的密切而复杂的关系。当涉及到现代意义上的中国艺术史时,无论是与绘画还是雕塑有关,日本研究人员的工作实际上最初先于并影响了他们的中国同行。此外,在日本的出版物中,大村的可以被认为是开创性的。一个重要的原因是
The Role of Visual Evidence in a New Perspective on Chinese Art History: A Study of Ōmura Seigai’s Two Histories of Chinese Art
The Formation of Chinese Painting History and Reception of Chinese Painting in Japan A systematic history of Chinese painting was first established at the beginning of the modern era in Japan. Considering the long history of Sino–Japan relations, this was effectively the first time Japan changed its role from being a receiver to an originator of intellectual discourse. Japan’s modern era also marked a turning point in the country’s reception of Chinese painting. In considering the relationship between these two phenomena, the role of Japanese art historian Omura Seigai 大 村西崖 (1868–1927) is particularly interesting. As a graduate of the inaugural year at the Tokyo School of Fine Arts, Omura had studied art history from Ernest Fenollosa (1853–1908) and Okakura Tenshin 岡倉天心 (n e Okakura Kakuz o 覚三, 1863–1913). He would go on to become an art historian who applied the principles he learnt from the modern discipline of art history to his research on the history of ‘Oriental’ 東洋 (t oy o) or Asian art (in which ‘Asia’ primarily comprised China and Japan). Omura authored two volumes on the history of Chinese painting. Published fifteen years apart, these two histories illustrate a shift that occurred in the perception of Chinese painting, which impacted its reception in modern Japan. It is necessary to first explain the close and complex relationship between studies of Chinese painting history by Chinese and Japanese researchers. When it comes to Chinese art history in the modern sense of the term, whether relating to painting or sculpture, the work of Japanese researchers, in fact, initially preceded and influenced that of their Chinese peers. Moreover, among the Japanese publications, Omura’s can be considered pioneering. One significant reason that a