二十世紀初期日本對塞尚與後印象派的轉譯：日本野獸派的觀察

Japanese Translation of Paul Cézanne and Post-Impressionism in the early 20th century:Observation of the Formation of Japanese Fauvism

本文探討二十世紀初期塞尚與後印象派對日本藝術的影響，以及日本野獸派對西方藝術思潮的轉譯，並關注日本藝術家與藝術評論家對西方現代主義理論的理解和詮釋。二十世紀初期，當日本畫家第一次接觸到塞尚和後印象派，經過1900年代對「自我」的探索期，1910年代起日本畫壇逐漸形塑出成熟的「個性」、「人格」概念。有島生馬在翻譯西奧多．杜萊特（Théodore Duret）著作時的誤解，導致塞尚在日本被描述成「革命的畫家」，是反抗體制且具有革命精神的畫家，此時塞尚被建立的形象符合日本畫家對現代繪畫的想像，現代繪畫是厭棄過時常規的。蘇立文（Michael Sullivan）主張，日本野獸派藝術家之所以能夠接受印象派、後印象派，乃至於納比派的作品，主要是因為這些歐洲畫派或多或少都曾經受到日本繪畫的影響。然而這樣的說法是有待補充的，日本藝術家確實在歐洲現代繪畫中看見「東方的趣味」，但這並不足以用來說明日本藝術家接受歐洲現代藝術思潮，進而發展出日本野獸派的原因。然而，為了創造出屬於日本的現代繪畫，日本畫家回首日本傳統南畫以及發起「新南畫復興運動」，他們從歐洲現代繪畫中看見與日本傳統繪畫共享的符號與意義。對歐洲繪畫的接受，促使畫家對過往日本土藝術進一步的探討及研究，當他們擷取塞尚、後印象派、表現主義等歐洲現代繪畫風格的時候，為何又能同時保有日本的主體性將是本文討論的重點。

This essay examines the reception of Paul Cézanne and Post-Impressionism on Japanese art in the early twentieth century and the translation of Japanese Fauvism towards Western art trends, and focuses on the understanding and interpretation of western art theories by Japanese artists and art critics. In the early twentieth century, it was the first time that they faced works of Paul Cézanne and Post-Impressionism. In 1900’s, Japanese artists explored what‘self’was, yet in 1910’s to 1920’s they started to create the mature concept of“personality”and“Jinkaku”(人格). With Arishima Ikuma’s misunderstanding of Théodore Duret's‘s“revolutionary painter”, Japanese artists thought Cézanne was an artist who was against to colleges and had revolutionary spirits. Under those circumstance, Cézanne‘s images accorded with Japanese artists’requests to modern art. Michael Sullivan argued that the reason why Japanese Fauvism artists were able to accept the works of Impressionism, Post-Impressionism, and even Nabi is mainly because European art trends were more or less influenced by Japanese painting. However, this statement needs to be supplemented. Japanese artists saw ''the taste of the East'' in modern European paintings, but this is not enough to explain why Japanese artists accepted the European modern art trend and developed Japanese fauvism. In order to create Japanese modern paintings, Japanese painters looked back at traditional nanga, and launch the ''New Nanga Revival Movement''. They saw symbols and meanings shared with traditional Japanese paintings from modern European paintings. The acceptance of European painting prompted painters to further explore and study the past Japanese indigenous art. When they captured modern European painting styles such as Cézanne, post-impressionism, and expressionism, why they could retain Japanese subjectivity will be discussed in this essay.