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

1930 年代至 40 年代塞尚在日本的接待情况

基本信息

批准号：
10610053
负责人：
NAGAI Takanori
金额：
$ 2.24万
依托单位：
Kyoto Institute of Technology
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1998
资助国家：
日本
起止时间：
1998 至 2001
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-10610053/
关键词：
Cezanne Cezannisme Reception modernism ant critic forming Realism Plastique モダニズム人格セザンヌ受容

项目摘要

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

在1989- 1990年（A）科学研究赠款的赞助下进行的研究中，我全面调查了从1910年代到1921年12月的美术杂志，并构建了一个关于塞尚的论文和文件的图表。根据1998-2001年文部科学省科学研究补助金（CX 2），我仔细查阅了1922年1月至1947年1月的美术杂志，收集了关于塞尚的文章，然后仔细阅读并整理了这些文本。我把这些文章分为三个部分：（1）1922年1月至1929年12月，（2）1930年1月至1939年12月，（3）1940年1月至1947年1月。在每一部分中，我都根据论文的论点进行了分类，并为每一部分准备了参考书目。为了在更大的背景下把握塞尚的接受，我准备了一张图表，展示法国现代艺术的接受史。 ...更多信息在20世纪30年代和40年代，“可塑性”（zokei）和“现实主义”（shajitsu）成为日本解释塞尚的关键词。到目前为止，这是一个完全不清楚的观点，这是新的知识，使本研究原创我写了一篇关于我的文章，这两种解释的兴起。在研究期间，我计划了三次与本研究主题相关的演讲：2000年7月21日，我请东京独立行政机构国立文化财产研究所艺术部第二课主任田中敦先生就“日本现代艺术接受史的研究课题”发表演讲<th>;我还请国际日本研究中心的稻永茂教授在2001年第28届评审团上以“莫里斯·丹尼斯和日本”为题发言<th>;我还请德克萨斯大学奥斯汀分校艺术和艺术史系的理查德·斯奈夫教授、现代主义研究中心主任以“数字化”为题发言; 2000年9月22日，“现代艺术的经验”<nd>。我没有把研究结果藏在心里，而是把研究结果介绍给其他对类似研究课题感兴趣的研究人员，并创造了一个讨论的场所，着眼于公众利益。我把这三个人的演讲录了下来，并把它们连同参考书目、年表和我自己的论文发表在一本研究结果报告小册子里（A4大小，100页），并提出了目前的研究结果，许多其他研究人员。少