Cezanne's Reception in Japan during 1930s-'40s

在1989-90年科学研究基金(A)的资助下，我对20世纪10年代至1921年12月的美术杂志进行了全面调查，并构建了一个关于塞尚的文章和文献的图表。在1998-2001年教育、文化、体育、科学技术资助科研项目（CX2）期间，我仔细阅读了1922年1月至1947年1月的美术杂志，收集了塞尚的论文集，并对这些文本进行了深入的研究和整理。我把这些文章分成三个部分：(1)1922年1月- 1929年12月，(2)1930年1月- 1939年12月，(3)1940年1月- 1947年1月。在每一篇文章中，我都根据他们的论点对文章进行了分类，并为每个模块准备了参考书目注释。为了在更大的语境中把握塞尚的接受，我准备了一张展示法国现代艺术接受史的图表。根据我的调查，很明显，在20世纪30年代和40年代，“可塑性”（zokei）和“现实主义”（shajitsu）在日本成为解释塞尚的主要关键词。到目前为止，这是一个完全不清楚的观点，正是新的知识使目前的研究具有原创性。我写了一篇关于我对这两种解释的兴起的文章。在研究期间，我计划了三场与本次研究主题相关的讲座：我邀请了独立行政机构东京国立文化财产研究所艺术二科主任田中淳先生于2000年7月21日以“日本现代艺术接受史的研究课题”为题进行演讲；我还邀请了日本研究国际研究中心的稻永茂教授在2001年第28期的评委会上就“莫里斯·丹尼斯与日本”这一主题发表演讲。我邀请了得克萨斯大学奥斯汀分校艺术与艺术史系教授、现代主义研究中心主任理查德·斯尼夫教授就“数字化；《现代艺术的体验》，2000年9月22日。我没有把这个研究留给自己，而是把它展示给其他对类似的研究课题感兴趣的研究者，并从公共利益的角度创造了一个讨论的场所。我将这三个人的演讲记录下来，并以参考书目、年表和我自己的论文出版在一本研究结果报告小册子（A4大小，100页）中，并将目前的研究结果展示给许多其他研究人员。少

In my research conducted under the auspices of the Scientific Research Grants for 1989-90(A), I comprehensively surveyed fine arts magazines from the 1910s through December of 1921 and constructed a chart of the essays and documents on Cezanne. Under the 1998-2001 Ministry of Education, Culture, Sports, Science and Technology Subsidy for Aiding Scientific Research (CX2) I thoroughly reviewed fine arts magazines dating from January 1922 to January 1947, collected the essays on Cezanne, and then pored over and organized these texts. I classified this body of essays into three blocks : (1) January 1922 - December 1929, (2) January 1930 -December 1939, and (3) January 1940- January 1947. In each I classified the essays based on the points of their arguments and prepared bibliographical notes for each block. In order to grasp Cezanne's reception in a larger context, I prepared a chart showing the history of the reception of French modern art.As a result of my survey, it became clear that in … More the 1930s and 1940s, "plastique" (zokei) and "realism" (shajitsu) become dominant as keywords in the interpretation of Cezanne in Japan. Until now, this was a point that had been completely unclear, and it is new knowledge that makes the present research original I have composed an essay concerning me rise of both interpretations. During the research period, I planned three lectures related to the theme of the present research : I asked Mr. Atsushi Tanaka, Director of the Second Section of the Art Department at the independent administrative institution National Research Institute for Cultural Properties, Tokyo to speak on the subject "Research Topics in the History of Reception in Japanese Modern Art" on July 21^<th>, 2000 ; I also asked Professor Shigemi Inaga of the International Research Center for Japanese Studies to speak on the topic "Maurice Denis and Japan" on Jury 28^<th>, 2001 ; and I asked Professor Richard Sniff of the Department of Art and Art History at the University of Texas at Austin and Director of the Center for the Study of Modernism to speak on the topic "Digital ; Experience in Modern Art" on September 22^<nd>, 2000. Instead of keeping it to myself, I presented the research to other researchers with interests in similar research topics and created a place for discussion with an eye towards public benefit.I recorded and published the talks given by these three individuals with a bibliography, chronology and my own essay in a research results report booklet (A4 size, 100 pages) and presented the results of the present research to numerous other researchers. Less