豊子愷の中国美術優位論と日本

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書誌事項

タイトル別名
  • China’s Response to the West in Art:
  • 豊子凱の中国美術優位論と日本--民国期の西洋美術受容
  • ホウシガイ ノ チュウゴク ビジュツ ユウイロン ト ニホン ミンコクキ ノ
  • ―民国期の西洋美術受容
  • Feng Zikai’s Theory of the Superiority of Chinese Art and Its Origins in Japan

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説明

<p>　Though not an artist of the Western style of painting, Feng Zikai played an important role in the reception of Western art in China from the 1920s onwards. Having first studied Western art under Li Shutong, the first person to introduce correct training methods for Western art into China, Feng went to Japan in 1921 to further his study in this field. Though on his return home to China, he did not in the end become a Western style artist, he published many works on the topic. In this paper, I focus on his theory of the superiority of Chinese art.</p><p>　Feng’s influential essay, “The Victory of Chinese Art in the Modern Era” was published as the opening piece in the January edition of Dongfangzazhi (1930). He asserts here the superiority of Chinese art both formally and theoretically. His views, however, were not originally of his own making but were borrowed from Japan. Since the end of the Meiji period the study of Eastern art had flourished in Japan and scholars, in conscious resistance to the West, had proclaimed the superiority of Eastern art over its Western counterpart. Feng’s thesis took such arguments as its basis.</p><p>　Confronted with the West Japan and China were on common ground, and both were in need of values derived from within their own culture which could compete with the West. Japan, through reexamination of its adoption of Western art, discovered values superior to the West in the history of Chinese art. Starting with Okakura Kakuzo, Japanese scholars demonstrated the superiority of Qiyun-shengdong 気韻生動 to the Einfühlung theory. Feng readily adopted the Japanese view; since China as the cultural center of the region was in even greater need of values with which to compete with the West and Japan.</p><p>　The idea that Chinese art was superior to the West’s spread, and many Western style painters in China returned to traditional Chinese painting, literati painters like Shih Tao 石濤 and Bada-shanren 八大 山人 were revaluated. Such a return, of course, enriched Chinese painting of the Minguo period, but what is important here is that the assertion of the superiority of Chinese art became a turning point in the reception of Western art in China.</p>

収録刊行物

  • 比較文学

    比較文学 39 (0), 52-66, 1997

    日本比較文学会

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