Influences of European Art and Literature on Modern Japanese-Style of Painting

本报告旨在阐明西方艺术和文学对日式绘画的一些影响。明治时代与西方的接触使这一流派发生了根本性的变化，尤其是在当时某种传统主义占主导地位的京都艺术界。有许多画家认为自己是工匠而不是艺术家。然而，随着西化进程的推进，这一流派出现了新的浪潮。不少日本画派画家觉醒后，对西方艺术产生了浓厚的兴趣。日本绘画最重要的修复者之一竹内清浩（Takeuchi Seiho）于1900年前往欧洲，参观巴黎的国际博览会、博物馆和美术学校。他开始对欧洲艺术和他的创作有了更清晰的认识。年轻的画家，如土田巴库森，村上香，主要成员的Kokuga Sosaku Kyokai和富田Keisen，日本Bijyutsu-in的活跃成员，更强烈地受到欧洲艺术的影响，例如白桦，告诉他们。这种影响不仅涉及艺术，还涉及艺术家的思想和生活，如梵高、罗丹等。日本艺术家欣赏他们，并试图模仿他们的创作、思想和生活。他们把艺术看作是生活的问题。他们反对传统，在创造中寻找自由。他们期望自己的作品是真实自我的表现。但是，这种激发他们自我的搜索可能会在他们的思想中带来身份危机。在这种情况下，日本画家同时需要另一种欧洲绘画来拯救他们的冲突。意大利画家，特别是弗拉·安杰利科将在这一点上发挥重要作用。

This report aims to clarify some influences Western art and literature exert on the Japanese-style painting. The contact of the West in the Meiji era brings radical changes into this genre, above all, in the Kyoto art world where a certain traditionalism was dominant at that time. There were many painters who regard themselves as artisans rather than artists. Nevertheless, when the westernization progresses, new wave arrives in this genre. Not a few painters of Japanese-style painting, awakened, became more interested in the western art. Takeuchi Seiho, one of the most important renovators of the Japanese painting, traveled Europe in 1900 for the purpose of visiting the international exposition in Paris and museums and schools of the fine art. He began to have a more clear consciousness of the European arts and his creation. Younger painters, such as Tuchida Bakusen, Murakami Kagaku, principal members of the Kokuga Sosaku Kyokai and Tomita Keisen, an active member of Nihon Bijyutsu-in, were influenced more passionately by the European art of which, for example, Shirakaba, informed them. The influence concerns not only the art but also thoughts and life of the artists, Van Gogh, Rodin and so on. The Japanese artists admire them and try to imitate their creation and ideas and their life. They consider art as a matter of life. Opposing traditions, they search freedom in creation. They expect that their works are expressions of their real self. But it is possible that this kind of search exciting their ego brings an identity-crisis in their mind. In these circumstances Japanese painters needed, at the same time, another type of European painting as savior of their conflict. Italian painters, Fra Angelico in particular will play an important role in this point.