受容的歷程──戰後日本美術動向研究

Abstract

本文旨在透過美術評論、藝術家、作品等方向，研究戰後日本美術動向中的「受容」歷程。研究重點分為六個章節：第一章研究堀浩哉與其主導的「美術家共鬥會議」（簡稱「美共鬥」），如何在前衛終結和學運的動盪環境中，扮演他作為美術家的角色；第二章從彥坂尚嘉的《地板事件》系列作品，討論其作品的形成，以及對「戰後日本美術的原創性」質疑的觀點之間的對應關係；第三章透過《封閉著的圓環的彼方──從「具體」的軌跡可以推導出……》一文，觀察戰後日本美術所呈現出的數個面向的問題；第四章以椹木野衣的文章〈封閉著的「圓環的彼方」是？〉為研究對象，透過貫穿全文的「惡性場所」視點，去思考戰後日本美術的發展是否真的處於椹木野衣所提出的「惡性場所」的困境中；第五章探討了千葉成夫的文章〈美術學生的反亂〉，從中觀察千葉成夫在 1980 年代時率先意識、關注到「美共鬥」的討論價值，以及涉及的「美共鬥」相關問題；第六章從光田由里對「反藝術」的相關評論的觀察中，分析在「反藝術」潮流中發生的美術評論。

本研究發現，透過論述間的連結所勾勒出的戰後日本美術樣貌，其背後特有的「受容」特質引導了混血成果，而混血所帶來的自我批判與反省，成為「受容」過程中重要的歷練，對這種「受容」的歷程的觀察，本研究實驗站在堆疊擴散的圓的邊界線上，觀察各個圓的內部及外部的連結性和產生的問題。

The purpose of the study is to analyze the process of “acceptance”（受容）in postwar Japanese art development through perspectives of art criticism, artists and artwork.There are six chapters in the main point study. Chapter One: To study HORI Kosai and his leading movement known as “Bijutsuka Kyoto Kaigi” (“Bikyoto” for short); as well as his role as an artist during the turbulent times of the end of avant-garde and student movement. Chapter Two: To analyze the formation of HIKOSAKA Naoyoshi’s arts through his “Floor Event” series, and to explore the relationship within skeptical viewpoints against the “Originality of postwar Japanese art”. Chapter Three: To observe the various perspective issues introduced by postwar Japanese art through the studying of article “Beyond the Closed Circle: What Can We Learn from Gutai's Trajectory”. Chapter Four: To examine if the development of postwar Japanese art is indeed in the “bad place” dilemma as per SAWARAGI Noi suggests by studying his article “What is Beyond the Closed Circle” and its emphasize concept of “bad place”. Chapter Five: To discuss CHIBA Shigeo’s article “The Revolt of Fine Art Student”, observing how CHIBA Shigeo was one of the first in the 1980s to recognize and address the value of discussions related to "Bikyoto” as well as the pertinent questionsrevolving around it. Chapter Six: To assess art criticism that emerged during “anti-art” movement, based on the related comments made by MITSUDA Yuri corresponding to the topic of “anti-art”.The study discovers that the image of postwar Japanese art which is outline through the connection established among various discourse has a unique trait of “acceptance” and this trait has thus led to hybrid as consequent. While self-criticism and self-reflection compelled by the hybrid then become a crucial experience for the process of “acceptance”. To observe the process of “acceptance”, the study aims to stands on the boundary of the research onion, observing every inner and outer circles as well as its connectivity and complication.