The History of Reception of the Michelangelesque idea of Art History in the Modern Age of Japan

在索塞基·纳图姆(Soseki Natume，1867-1916)的小说中，我们可以看到浪漫主义和米开朗基尔式的地狱。1901年，东京帝国大学教授、Soseki的朋友Yasuji Otuka就裸体画的幽默批评发表了演讲，讲述了比亚戈在1568年瓦萨里讲述的故事中虚伪地指责米开朗基罗在西斯廷教堂的《最后的审判》中的裸体。1906年，S的小说《我是一只猫》(1905-1906年)严厉批评了黑田东彦的《智慧、印象、哨兵》(1899年)和《裸体女人》(1901年)中的这些斯巴达式和斯巴达式的思想。1890年，黑田东彦的赞助人、东京帝国大学校长富山幸一也讲述了这一英雄思想，将高森西沟比作米兰格罗或他的《大卫》。画家高桥裕一不仅承认自己是西吾的狂热崇拜者，还描绘了神话中的英雄。在米开朗基尔式的悲剧性手势中，山里·多克鲁王子被描绘成日本民族的象征和西戈的化身。根据东京艺术学院教授Koun Tak.amua于1888年在上野花园山上制作的木制模型制作的西贡青铜雕像，让我们想起1874年位于佛罗伦萨南山米开朗基罗广场的米开朗基罗的青铜复制品，仿佛它是新生的皇家意大利的象征。这表明，东京艺术学校的第一任校长冈仓接受了米开朗基罗的艺术理论，因为他曾在1887年访问过意大利。因此，在1889年，他可以将Hogai Kano的《母亲的Avaloke-itesvara》与米开朗基罗的《创造亚当》相提并论。综上所述，我们可以发现，冈瓜、雄一和索契的伟大知识分子都努力理解了米开朗基罗的艺术理论。

In the novels of Soseki Natume(1867-1916), who could read the books by W.Pater and A.Symonds, we can find the dantesque and michelangelesque Inferno. In 1901, Yasuji Otuka, Professor of Tokyo Imperial Univesity and Soseki's friend, lectured on the humorous criticisms concerning the nude paintings, telling about Biaglo who hypocritically had blamed the nudes in Michelangelo's "Last Judgment"in Sistine Chapel as reported in the story told by Vasari in 1568. In 1906, Soseki' s novel, I Am A Cat(1905-1906), criticised bitterly Seiki Kuroda's "wisdom, Impression, Sentlment"(1899) and woman Nude" (1901) for these Tainesque and Spartan ideas. Syoichi Toyama, Kuroda's patron and president of Tokyo Imperial University, also told about the heroic idea in 1890, comparing Takamori Saigou to Mlchlangelo or his "David". Painter Yuichi Takahshi not only confessed to be ardent admirer of Saigo, but also painted the mythical hero. "Prince Yamato Takeru, in the michelangelesque tragic gesture as the symbol of Nationality of Japan and as the metapher of Saigo. The "Bronze Statue of Saigo" made after the wooden model by Koun Tak.amua, Professor of the Tokyo Art School, and located on the hill of Ueno Garden in 1888, reminds us the bronze replica of Michelangelo's "David", which had been located in 1874 in the Piazza di Michelangelo on the south hill of Florence as if it were a symbol of new-born Royal Italy. This demonstrates that Okakura, the first president of the Tokyo Art School, accepted the art theory of Michelangelo, because he had visited Italy in 1887. In 1889, therefore, he could compare Hogai Kano's "Maternal Avaloke- itesvara"to Michelangelo's "Creation of Adam". In conclusion, we can find the great intelligences in Okakua, Yuichi and Soseki to to have striven to understand the art theory of Michelangelo.