Cezanne interpretation in Japan in 1930's-40's and its intellectual Environment

在20世纪30年代和40年代的日本，法国画家保罗·塞尚（Paul Cezanne, 1839-1906）的作品被用批判的日语术语“shajitsu”（现实主义）和“Zokei”（塑料）来解释。本研究旨在厘清他们的智力环境。关于射术，我探讨了以西田北太郎为中心的京都学派的发展，作为这种批评的背景之一。在20世纪30年代，西田已经放弃了对主体纯粹意识的分析，而开始分析主体与周围环境的关系。可以说，他追求的是主体环境理论的讨论，而不是主体理论。西田的追随者三木清、上田居三和木村茂明也参加了这次讨论，每个人的努力都取得了丰硕的成果。关注主体与环境关系的现实主义批评的感性体系是一种批判运动，它被纳入了京都学派的哲学发展之中。当时，京都学派开始通过引入环境方面来解释主体。其次，京都学派试图解释主体与环境之间的辩证关系，三木使用“想象”，木村使用“表达”的机制。我们可以说，这种创造性行为的理论化发展是一个主要的概念框架，与现实主义批评同时存在，这种批评关注“建模”行为，从而复制现实。关于Zokei，有两个框架。首先是20世纪30年代由Herbert Read（1893-1968）和Alfred H Barr Jr.形成的西方抽象艺术理论，抽象艺术获得了“公民权”，这些作品由长谷川三郎（1906-1957）和泷口修三（1903-1979）传入日本。因此，这一派的抽象艺术理论也在日本蔓延开来。其次，与此同时，日本出现了对“机器美学”的热烈倡导，这是抽象艺术理论成长和传播的背后。塞尚对“塑料”的批评属于这两个框架，可以总结为这种现代生活观所煽动的接受的本质。少

In 1930s and 1940s Japan, the French painter Paul Cezanne (1839-1906) was interpreted using the critical terms "shajitsu" (realism) and Zokei (plastic) in Japanese.This research aims to clarify their intellectual environments.With regard to shajitsu, I exlored the development of the Kyoto School centered on Nishida Kitaro as one of the backgrounds of this criticism. In the 1930s, Nishida had abandoned the analysis of the subject's pure consciousness and was analyzing the subject's actions in relation to the environment that surrounded the subject. One could say that in place of subject theory he pursued the discussion of subject-environment theory. Nishida's followers Miki Kiyoshi, Ueda Juzo and Kimura Motomori also participated in this discussion and the efforts of each bore abundant fruit. The perceptual system of the realist criticism that focused on the relationship between subject and environment was a critical movement that was subsumed by the philosophical development of the con … More temporary Kyoto School, which at that time, was beginning to explain the subject by introducing the aspect of the environment. In the second place, the Kyoto School attempted to explain the dialectical relationship between the subject and the environment, with Miki using the "imagination" and Kimura using the mechanism of "expression" We can say that the development of this sort of theorization of creative action was a major conceptual framework that existed simultaneously with the realist criticism that attended to the act of "modeling" whereby reality was copied.Conerning Zokei, therein are two frameworks. First, there is the Western theory of abstract art formed in the 1930s by Herbert Read (1893-1968) and Alfred H Barr Jr., in which abstract art obtained "citizenship", and these works were introduced to Japan by Saburo Hasegawa (1906-1957) and Shuzo Takiguchi (1903-1979). Thereby, this faction of abstract art theory spread throughout Japan as well. Secondly, there was the passionate advocacy of "aesthetics of machine" in Japan at the same time, which was behind the growth and spread of the theory of abstract art. The Cezanne criticism of "plastic" fell within these two frameworks, and can be summed up as the nature of acceptance fomented by this view of modern life. Less