《封閉圓環》中的戰後日本「美術」

Japanese postwar 'art' in 'The Closed Circle'

本文旨在透過《封閉著的圓環的彼方──從「具體」的軌跡可以推導出……》（以下簡稱為《封閉圓環》）觀察戰後日本美術所呈現出的數個面向的問題。研究重點分為三個部分，第一，著重在椹木野衣（さわらぎのい／SAWARAGI Noi，1962－）對《封閉圓環》的反論，並探討他的觀點；第二，《封閉圓環》針對「具體美術協會」的發展軌跡提出觀察，特別是對於原創性的思考；第三，《封閉圓環》中也延伸出彥坂尚嘉（ひこさか なおよし／HIKOSAKA Naoyoshi，1946－）個人對美術的探問。研究發現《封閉圓環》有許多觀點值得再次細探，更為關鍵的是點出日本從「具體美術協會」到「物派」所呈現出的「封閉著的圓環」的美術困境，是作為對日本戰後美術的考察的重要參考文獻。

This paper's main objective is to use'Beyond the Closed Circle: What Can We Learn from Gutai's Trajectory?' (in short,'The Close Circle) to observe the various problems faced by Japanese postwar art. There are three main parts to this study. Firstly, focusing on SAWARAGI Noi's counter arguments to 'The Close Circle' and discussing his point of view. Secondly, exploring the criticism presented in 'The Close Cirlce' of Gutai Art Association, particularly towards originality in art. And lastly, 'The Closed Circle' further extended HIKOSAKA Naoyoshi 's personal exploration and questioning of art. 'The Closed Circle' contains numerous perspectives that deserve further investigation and examination, but most importantly, this study points out that during the evolution from Gutai Art Association to Mono-ha, it displayed the dilemma of the closed circle that Japanese art faces, and it is an important addition to the study of Japanese postwar art.