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

20世纪三四十年代的日本，法国画家保罗·塞尚(Paul Cezanne，1839-1906)在日本被解读为“写实主义”(Shajitsu)和“塑胶”(Zokei)这两个批评性术语。本研究旨在厘清他们的思想环境。关于武术师，我赞扬了以西田北太郎为中心的京都学派的发展，作为批评的背景之一。在20世纪30年代，西田放弃了对主体纯意识的分析，转而分析主体相对于主体周围环境的行为。可以说，他不是主体性理论，而是主体性-环境论。西田的追随者清水美树、上田菊三和木村真美也参加了这次讨论，每个人的努力都取得了丰硕的成果。以主体与环境关系为中心的现实主义批评的感性体系，是一场被…哲学发展所包容的批判运动更临时的京都学派，当时正开始通过介绍环境的方面来解释这一主题。其次，京都学派试图解释主体与环境的辩证关系，三木使用“想象”，木村使用“表达”机制。可以说，这种创造性行动理论化的发展是一个与关注复制现实的“建模”行为的现实主义批评同时存在的重大概念框架。首先是赫伯特·里德(Herbert Read，1893-1968)和小阿尔弗雷德·H·巴尔(Alfred H Barr Jr.)在20世纪30年代形成的西方抽象艺术理论，其中抽象艺术获得了“公民身份”，这些作品是由长谷川三郎(Saburo Hasegawa，1906-1957)和高口修三(Shuzo Takiguchi，1903-1979)介绍给日本的。因此，抽象艺术理论的这一派别也传遍了日本。其次，日本同时也有对“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原因。塞尚对“塑料”的批评就是在这两个框架内进行的，可以归结为这种现代生活观所煽动的接受的本质。较少

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