万国博覧会とオスマン帝国 ー「美術」とオスマン宮廷の日本趣味受容ー (In Japanese, Universal Exhibitions and the Ottoman Empire: "Bijutsu (Fine Arts)" and the Perceptions of Japan in the Ottoman Court (original) (raw)
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2022
In the 1880s, Japonisme was already a well established aesthetic trend in Western Europe when it began to reach Central Europe, more particularly Austria-Hungary. Born into a Polish family near Lemberg/Lwów (today L'viv in western Ukraine), capital city of the Austrian province of Galicia, Julian Fałat, then a subject of the now defunct Habsburg monarchy, came to Japan fifteen years before Emil Orlik and nearly three decades before Friedrich Capelari, all three of them from Cisleithania. He was indeed, in 1885, the first artist from Central Europe who visited Japan for artistic reasons. Together with his wealthy friend Edward Simmler, and thanks to him, he was able to travel around the world, and stayed for two months on this occasion. We have various memories of his trip: watercolour and pencil sketches, writings, travel documents and other items, most of them on display in his former house, now a museum dedicated to his life and work in Bystra, near Bielsko-Biała, Silesia (south-west Poland). He was above all a watercolour and oil painting master. Unlike Orlik and Capelari, he was not a wood engraver, although he has been inspired, like many others, by the masters of ukiyo-e, Hokusai and Hiroshige. Back in Europe, he developed his own interpretation of Japonisme. Beyond the typical props (kimono, uchiwa fans…) of his early works, many of his later creations, first and foremost the winter landscapes, reveal a profound understanding of Japanese aesthetics, especially in the way he expressed the relationship between Man and Nature in these creations. His Japanese experience marked him for life. He wrote later in his memoir “My admiration for Japan and the Japanese simply knows no bounds.” Appointed Director of the School of Fine Arts in Cracow in 1895, he was among the founding members of the artistic society Sztuka (the Art) two years later, together with Japoniste painters such as Leon Wyczółkowski, whom he met in Munich in 1875, Teodor Axentowicz, Stanisław Wyspiański and others. He was also in contact with the famous Japanese art collector Feliks “Manggha” Jasieński. However, among them, he was the only one who had a first-hand experience of the country whose art fascinated them. Quite famous in Poland nowadays, where he is considered as a national artist, he is little known, if not unknown, in Western countries, as well as in Japan. However, he is among the artists who were the most profoundly influenced by Japanese art and aesthetics during the golden age of Japonisme and for the rest of his life. Presenting Fałat’s Japonisme in Tokyo would be nothing less than giving his due to a great artist, who would deserve recognition in the country he placed above all others.
Influence of Western aesthetics on Soseki's Kusamakura
2001
This paper will show that Soseki's Kusamakura can be situated in a branch of western aesthetical theory, concerned with explicating the difference between poetry and painting. While Soseki was greatly involved with western aesthetics, in particular 18th-century literary theory, his enthusiasm for it was, however, originally based on an interest in Chinese and Japanese arts and literature, especially Haiku, the Japanese traditional 47-syllable poem. Soseki's novels could, therefore, be defined as a kind of adaptation from western modern novels. In the Meiji period, Soseki became one of the first official students to study abroad and went to London, where he studied 18th-century English literary works and tried to arrive at the general definition of 'literature' in comparison with those of East Asia. He also experienced at first hand the glory and gloom of the first industrialized country in the world. After coming back to Japan he was to become a real modem novelist, ...
漱石『草枕』にみる西洋美学の受容と翻案 : 画工の絵にならない俳句的な旅
美学研究, 2001
This paper will show that Sbseki's Kusamakura can be situated in a branch of western aesthetical theory, concerned with explicating the difference between poetry and painting. While Sbseki was greatly involved with western aesthetics, in particular 18th-century literary theory, his enthusiasm for it was, however, originally based on an interest in Chinese and Japanese arts and literature, especially Haiku, the Japanese traditional 47-syllable poem. Sbseki's novels could, therefore, be defined as a kind of adaptation from western modern novels. In the Meiji period, SBseki became one of the first official students to study abroad and went to London, where he studied 18th-century English literary works and tried to arrive at the general definition of 'literature' in comparison with those of East Asia. He also experienced at first hand the glory and gloom of the first industrialized country in the world. After coming back to Japan he was to become a real modem novelist, in contrast to the naturalistic novelists dominant in Japan at that time. Sbseki tried to exclude a consistency of plot or story from his literary world. He often stressed the importance of the spirit of 'Sketch' (or 'Shasei') in his works. This is why SGseki might be considered a descendant of the western theory developed in English modern novels, such as Sterne's Tristram Shandy. As a result, Sbseki stands prominently in the world of arts and literature current a t the turn of the 19th century to the 20th. His Kusamakura is a symbolic work which illustrates this-. notion. . observed above. .
From Alien to Backward: Reconceptualizing Difference in Modern Japan (特集 共生の可能性と限界プロジェクト) -- (多文化主義)
2006
1 はじめに 渡辺公三 3 開発事業にともなう社会影響評価 (Social Impact Assessment)の手法 岩崎・グッドマン まさみ 25 土地所有にかかわる「伝統」と「近代」の相克をめぐる 幾つかの論点について─メキシコ・チアパスの事例を参照項に─ 崎山政毅 41 「先住民共同体」はいかに「構築」されたのか? ―ニカラグア;1880~1920― 佐々木祐 55 コンゴ東北部イトゥリ地方における民族間対立と土地問題 澤田昌人 69 先住民と「土地」―大地をめぐる言説と現状― スチュアート ヘンリ 79 墓を通じた土地と人との関係についての小論 ―韓国・済州道の墓地管理活動「伐草」の事例から― L村竜平 97 グァテマラのマヤ系先住民と荒蕪地 ―現地調査の成立と「伝統的共同体」の分節に関する覚書― 中田英樹 115 アメリカ人類学の発生現場を検証する ―モーガンとインディアン「土地問題」へのメモ― 渡辺公三