| Budget Amount *help |
¥1,900,000 (Direct Cost: ¥1,900,000)
Fiscal Year 2004: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 2003: ¥1,100,000 (Direct Cost: ¥1,100,000)
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| Research Abstract |
In 1930s and 1940s Japan, the French painter Paul Cezanne (1839-1906) was interpreted using the critical terms "shajitsu" (realism) and Zokei (plastic) in Japanese.
This research aims to clarify their intellectual environments.
With regard to shajitsu, I exlored the development of the Kyoto School centered on Nishida Kitaro as one of the backgrounds of this criticism. In the 1930s, Nishida had abandoned the analysis of the subject's pure consciousness and was analyzing the subject's actions in relation to the environment that surrounded the subject. One could say that in place of subject theory he pursued the discussion of subject-environment theory. Nishida's followers Miki Kiyoshi, Ueda Juzo and Kimura Motomori also participated in this discussion and the efforts of each bore abundant fruit. The perceptual system of the realist criticism that focused on the relationship between subject and environment was a critical movement that was subsumed by the philosophical development of the con
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temporary Kyoto School, which at that time, was beginning to explain the subject by introducing the aspect of the environment. In the second place, the Kyoto School attempted to explain the dialectical relationship between the subject and the environment, with Miki using the "imagination" and Kimura using the mechanism of "expression" We can say that the development of this sort of theorization of creative action was a major conceptual framework that existed simultaneously with the realist criticism that attended to the act of "modeling" whereby reality was copied.
Conerning Zokei, therein are two frameworks. First, there is the Western theory of abstract art formed in the 1930s by Herbert Read (1893-1968) and Alfred H Barr Jr., in which abstract art obtained "citizenship", and these works were introduced to Japan by Saburo Hasegawa (1906-1957) and Shuzo Takiguchi (1903-1979). Thereby, this faction of abstract art theory spread throughout Japan as well. Secondly, there was the passionate advocacy of "aesthetics of machine" in Japan at the same time, which was behind the growth and spread of the theory of abstract art. The Cezanne criticism of "plastic" fell within these two frameworks, and can be summed up as the nature of acceptance fomented by this view of modern life. Less
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