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Science of Art in Modern Japan : its historical perspective

现代日本的艺术科学：历史视角

基本信息

批准号：
12410015
负责人：
KAMBAYASHI Tsunemichi
金额：
$ 9.6万
依托单位：
Osaka University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (B)
财政年份：
2000
资助国家：
日本
起止时间：
2000 至 2001
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-12410015/
关键词：
Aesthetics Science of Art Philosophyy Japan Modern Translation Development of Aestbetics Courses History of Art Studies 日本近代美学・芸術学文芸学音楽学芸能演劇美術史工芸・デザイン美術批評

项目摘要

This research has set out to be a systematic investigation about the reception and development of Western aesthetics and art studies in Modern Japan. It also aimed to cooperate with the 15^<th> International Congress of Aesthetics in 2001 in Japan.Japan has had its own aesthetics discourse such as Zeami's "Fushikaden" and Chikamatsu's "Kyojitsuhimaku" which are still comparable to our contemporary art studies. A discipline that we call "bigaku" today, however, has appeared in the Meiji era. It has begun as an adaptation of a branch of Western Humanities. Though Nishi Amane's Bimyo-gakusetsu is known as the first case of this adaptation, Japanese have not taken a great interest in bigaku until 1890 when Mori Ogai had disputed against Toyama Shoichi's lecture which had held under the title of "The future of Japanese painting". Through this disputation, Japanese came to aware that bigaku was efficient to an art criticism, and rushed to establish several courses on aesthetics in combination with courses on art history.Kambayashi tsunemichi (Head Investigator) made a presentation on this subject under the title of "Aesthetics in Japan and aesthetics of Japan" at a symposium named "Art in Asia" which held at Ritsumeikan University. Because the following development of aesthetics and art history after the disputation between Mori and Toyoma is already reported in many chronicles of each university, this research mainly dealt with other art studies than aeshtetics and art history such as science of literary art, musicology, ethno-musicology, theater studies, film studies, and so on.

本研究旨在系统考察西方美学和艺术研究在近代日本的接受和发展。它也是为了配合2001年在日本举行的第15届国际美学大会。日本已经有了自己的美学话语，如Zeami的《Fushikaden》和Chikamatsu的《Kyojitsuhimaku》，它们仍然可以与我们的当代艺术研究相媲美。然而，在明治时代，出现了一门我们今天称之为“大学问”的学科。它始于西方人文科学的一个分支的改编。虽然Nishi Amane的Bimyo-gakusetsu被认为是这种改编的第一个案例，但日本人直到1890年才对大古产生了浓厚的兴趣，当时森尾井对富山昭一的演讲提出了异议，该演讲的标题是《日本绘画的未来》。通过这场争论，日本人意识到大古是艺术批评的有效工具，并争先恐后地开设了几门美学课程，并结合艺术史课程。Kambayashi sunemichi(首席调查员)在立命馆大学举行的名为“亚洲的艺术”的研讨会上，以“日本美学与日本美学”为题作了演讲。由于森丰雄之争后美学和艺术史的后续发展在各大学的许多编年史中都有报道，因此本研究主要涉及文学艺术学、音乐学、民族音乐学、戏剧学、电影学等其他艺术学和艺术史以外的学科。