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

米开朗基罗式的艺术史思想在近代日本的接受史

基本信息

批准号：
09610060
负责人：
NAKAE Akira
金额：
$ 0.96万
依托单位：
Osaka Prefecture University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1997
资助国家：
日本
起止时间：
1997 至 1998
项目状态：
已结题

项目摘要

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.

在可以阅读W.Pater和A.symonds的书籍的Soseki Natume（1867-1916）的小说中，我们可以找到Dantesque和Michelangelesque Inferno。 1901年，东京帝国独立主义者和索塞基（Soseki）的朋友Yasuji Otuka对裸体绘画的幽默批评，讲述了Biaglo在米开朗基罗（Michelangelo一只猫（1905年至1906年）批评了痛苦的kuroda的“智慧，印象，哨兵”（1899年）和《女人裸体》（1901年）（1901年）为这些坦率和斯巴达人的想法。SyoichiToyama，Kuroda的顾客和东京帝国大学的校长，也告诉了1890年的Histhig tavemori tavemori to takori to的英雄想法。画家Yuichi Takahshi不仅承认是Saigo的热心仰慕者，而且还描绘了神话般的英雄。东京艺术学校教授Koun Tak.amua在木制模型之后制作的“青铜雕像”，并于1888年位于Ueno花园的山上，提醒我们米其基洛的“大卫”的“大卫”的青铜复制品，该复制品于1874年在Piaiza di di di Michelangelo in south Michelangelo in the South hill hill Hillore上，如果是新的米米金尔山脉，即这表明，东京艺术学校的第一校长Okakura接受了米开朗基罗的艺术理论，因为他于1887年访问了意大利。因此，他可以将Hogai Kano的“母体Avaloke-Itesvara”与Michelangelo的“ Adam创建”。总之，我们可以发现Okakua，Yuichi和Soseki的伟大情报努力了解米开朗基罗的艺术理论。