二十世紀初期日本對歐洲現代藝術的文化翻譯：日本野獸派形成的觀察

Abstract

本文探討二十世紀初期日本野獸派的形成與其演變過程，以及日本對歐洲現代藝術的文化翻譯與詮釋。當塞尚與後印象派、表現主義、立體派與野獸派等歐洲現代藝術傳入日本之時，日本藝術家是如何面臨如此巨變的挑戰。此外，本文將關注在野獸派是如何在百花齊放的眾多現代藝術流派中，脫穎而出成為日本洋畫畫壇的主流畫派。 日本野獸派的萬鐵五郎，一生從未踏足過歐洲，卻成為野獸派在日本最重要的代表人物。萬鐵五郎致力於「新南畫復興運動」，與重新改革日本衰落的日本畫畫壇，為的是創造出屬於日本本土的現代藝術。萬鐵五郎創作生涯嘗試許多畫派的風格，當萬鐵五郎與其他日本野獸派畫家吸收、模仿、擷取，再重新詮釋的過程中，是如何維持日本的主體性，將會是本文討論的重點。

I discuss the formation and evolution of the Japanese Fauvism in the early twentieth century, as well as the cultural translation toward European modern art. I also do research on how Japan artists face such a dramatic challenge when modern European art, such as Paul Cézanne, Post-Impressionism, Cubism and Fauvism, was introduced to Japan. In addition, I will concentrate on how Japanese Fauvism became the mainstream of art in Japan.

As the most important representative of artists in Japanese Fauvism, Tetsugorō Yorozu had never been to Europe. In order to create Japanese local modern art, Yorozu devoted himself to "New Nanga Revival Movement". How Japanese artists kept Japanese subjectivity when artists absorbed, imitated and translated different European art trends becomes the key point in this thesis.