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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.

本研究旨在对近代日本对西方美学和艺术研究的接受和发展进行系统的考察。它还打算与2001年在日本举行的第15届国际美学大会合作。日本有自己的美学话语，如Zeami的“Fushikaden”和Chikamatsu的“Kyojitsuhimaku”，这些话语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种我们今天称之为“比学”的学科。它最初是作为西方人文学科的一个分支的改编。虽然西天庵的《滨友学画》被认为是这种改编的第一个案例，但直到1890年，森小井对富山昭一以“日本绘画的未来”为主题举行的讲座提出异议，日本人才对比画产生了浓厚的兴趣。通过这场争论，日本人意识到比学作为一种艺术批评是有效的，并迅速结合艺术史课程开设了几门美学课程。Kambayashi tsunemichi（首席研究员）在立命馆大学举行的“亚洲艺术”研讨会上以“日本美学和日本美学”为题作了报告。由于在Mori和Toyoma之间的争论之后，美学和艺术史的发展已经在各大学的许多编年史中得到了报道，因此本研究主要涉及美学和艺术史以外的其他艺术研究，如文学艺术科学、音乐学、民族音乐学、戏剧研究、电影研究等。