Reconsidering Okakura Tenshin as the Inventor of Oriental Art
Transcription
Reconsidering Okakura Tenshin as the Inventor of Oriental Art
Reconsidering Okakura Tenshin as the Inventor of Oriental Art History Association for Asian Studies, Boston, Mar. 11-15, 1999; Annual Meeting Program, p135. Japan J apan his fudoron that underscored his linking of China's h i sf udoron 出 a tu n d e r s c o r e dh i sl i n k i n go fC h i n a 's off philosophical/political transition ann t the evolution p h i l o s o p h i c a l l p o l i t i c a l仕 a n s i t i o na h ee v o l u t i o no C h i n e s ea r t i s t i cs t y l e s .1 i l la l s ot a k eu i sc o n c e p to Chinese artistic styles. Iw will also take upph his concept off Asian "oneness" that emerged att血 this time; .{{ 3) Finally I A s i a n“ o n e n e s s "t h a te mergeda i st i m e ;. 3 )F i n a l l y1 want tooa address the question offw why Okakura perceived w antt d d r e s st h eq u e s t i o no hyO kakurap e r c e i v e d Chinese art tooh have experienced a s serious breakdown C h i n e s ea r tt a v ee x p e r i e n c e da e r i o u sb reakdown Song and Yuan Dynasties and why heeh held between the b e t w e e nt h eS onga n dY uanD y n a s t i e sa n dw hyh e l d such a n negative attitude towards literati painting and s u c ha e g a t i v ea t t i t u d et o w a r d sl i t e r a t ip a i n t i n ga n d subsequent Chinese art movements (including even the s u b s e q u e n tC h i n e s ea r tm ovements( i n c 1 u d i n ge v e nt h e crafts). Can causes for this be attributed too E Ernest c r a f t s ) .C an c a u s e sf o rt h i sb ea t 住i b u t e dt r n e s t of Western classicism, orr t too t the Fenollosa's ideas F e n o l l o s a 's i d e a so fW e s t e r nc 1a s s i c i s m,o h e Sinology tradition offT Tokugawa Japan? S i n o l o g yt r a d i t i o no okugawaJ a p a n ? What Iw want toω do in the paper assa aw whole isse explore Wh a t1 antt o d ω oi nt h ep 叩 a pe 町r a 邸 hole也 i 却 x . pl o r 陀e off"China' in the mind of Okakura, for I the issue t h ei s s u eo h瓜 a ta n d e r s t a n d i n go owO kak凹 u uヨ a au s e d b e l i e v e血 t believe that ann u understanding offh how Okakura used 胞 offh his thought system will China innt the development y s t . emw i l l C h i n ai h ed e v e l o p m e n to i st h o u g h t勾 s Okakura's ideas provide important new insights into p r o v i d ei m p o r t a n tn ewi n s i g h t si n t oO k a k u r a 'si d e a s Ittw was precisely Okakura's use of and methodology. a n dm e t h o d o l o g y .l asp r e c i s e l yO k a k u r a ' su s eo f Chinese art and history that allowed him tood develop his C h i n e s ea r ta n dh i s t o r yt h a ta l l o w e dh imt e v e l o ph i s of civilization, with its emphasis onn A Asian theory t h e o r yo fc i v i l i z a t i o n,w i t hi t se m p h a s i so s i a n "oneness" and its curious placement off訂artta attt the apex “ o n e n e s s "a n di t sc u r i o u sp l a c e m e n to h ea p e x off c civilization transcending both philosophy and a n s c e n d i n gb o t hp h i l o s o p h y a n d o i v i l i z a t i o n仕 religion. r e l i g i o n . his Indian nationalist friends; and Book offTea h i sl n d i a nn a t i o n a l i s t企 i e n d s ;a n d The The B ooko Tea (1906) was, byyc contrast, ap public lecture to the Boston ( 19 0 6 )w as,b o n 住a s t,a u b l i cl e c t l . 旬u 児et ω ot h eB o s t o n bourgeoisie designed to clarify Japan's position innt the b o u r g e o i s i ed e s i g n e dt ω oc 1 紅 i ち 今 , J 叩 a p加 a n 'sp o s i t i o ni h e Russo-Japanese War; (3) Finally Iw want tooe explore the R u s s o J a p a n e s eW ar;( σ 3 )F i n a l l y1 antt x p l o r et h e Okakura was removed from the Editorial way innw which w ayi hichO kakuraw asr emoved企 f 旨 romt h eE 副 d i t ω o r i a Board offt the first official Japanese art history that was a tw as B oardo h ef i r s to f f i c i a lJ a p a n e s ea r th i s t o r y血 World's off1900 and how compiled for the c o m p i l e df o rt h eParis P a r i sW o r l d ' sFair F a i ro 1 9 0 0a n dh ow his "internationalist" vision offO Oriental Art History (in h i s“ i n t e r n a t i o n a l i s t "v i s i o no r i e n t a 1A r tH i s t o r y( i n off aesthetically which Japan played the role w h i c h J a p a n p l a y e d t h e r o l e o a e s t h e t i c a l l y synthesizing Indian philosophy and Chinese ethics) was s y n t h e s i z i n gl n d i a np h i l o s o p h ya n dC h i n e s ee t h i c s )w as "nationalistic" perspective byys some replaced byya am more r e p l a c e db ore“ n a t i o n a l i s t i c "p e r s p e c t i v eb ome off t the very students Okakura had trained who a i n e dw ho o h ev e r ys t u d e n t sO kakura h ad 仕 pretended toob beel less ideological and more empirical inn p r e t e n d e dt e s si d e o l o g i c a la ndm oree m p i r i c a li their research onnBuddhism and Chinese Art History. t h e i rr e s e a r c ho Buddhisma n dC h i n e s eA r tH i s t o r y . ~bove questions will help uss t too Addressing A d d r e s s i n g the t h ea b o v eq u e s t i o n sw i l lh e l pu understand the reasons why Henry Focillon, for one, o ro ne, u n d e r s t a n dt h er e a s o n sw hyH enryF o c i l l o n,f Okakura sooh highly asst the most distinctive appreciated a p p r e c i a t e dO kakuras i g h l ya h em ostd i s t i n c t i v e offt the Oriental artistic heritage innt the les thinker t h i n k e ro h eO r i e n t a la r t i s t i ch e r i t a g ei h e"entre “ e n t r el e s guerres" cosmopolitan context. Dealing with these o s m o p o l i t a nc o n t e x t .D e a l i n gw i t ht h e s e g u e r r e s "c Okakura's issues will also help uss t too r re-evaluate i s s u e sw i l la l s oh e l pu e e v a l u a t eO k a k u r a 's position both innJ Japan and inn t the West inn the first p o s i t i o nb o t hi a p a na n di h eW esti t h ef i r s t offt this century. decade d e c a d eo h i sc e n t u r y . l H omologieso u l t u r a lR e s i s t a n c ei u r n o f t h e Homologies offC Cultural Resistance innT Turn-of-theJapan and India: AC Comparative Century C enturyJ apana ndI o d i a :A omparativeStudy Study offO Okakura Kakuzo and Abanindranath Tagore o kakuraK akuzoa ndA banindranathT agore Debashish Banerji, University offC California, Los Angeles D e b a s h i s hB a n e げi , U n i v e r s i t yo a l i f o r n i a,L osA n g e l e s Turn-of-the-century British Calcutta and Meiji T u r n o f t h e c e n t u r yB r i t i s hC a l c u t t aa n dM e i j i Yokohama presented striking similarities off hybrid 仕i k i n gs i m i l a r i t i e so h y b r i d Y okohama p r e s e n t e ds offt the collision off“ "east" and "west" culture assa ar result c u l t u r ea e s u l to h ec o l l i s i o no e a s t "a n d“ w e s t " that played itself out innt these cities. The capital off t h a tp l a y e di t s e l fo u ti h e s ec i t i e s .T h ec a p i t a lo British India, Calcutta the rise off a a w western,C a l c u t t a saw saw t h er i s eo e s t e r n B r i t i s hl n d i a bhadralok, who comprised educated Bengali elite, the e d u c a t e dB e n g a l ie l i t e,t h eb h a d r a l o k ,w hoc o m p r i s e d t h es p e c 仕umo o c i a la n di d e o l o g i c a la t t i t u d e sr a n g i n g the spectrum offs social and ideological attitudes ranging offB British ways too出 thee from unquestioning imitation f romu n q u e s t i o n i n gi m i t a t i o no r i t i s hw ays t fashioning offa ac cultural identity based onno oppositional f a s h i o n i n go u l t u r a li d e n t i t yb a s e do p p o s i t i o n a l rejection and/or affirmation. Japan though r e j e c t i o na n d / o r revivalist r e v i v a l i s ta f f i r m a t i o n .J a p a nt h o u g h never following American humiliation, n e v e r colonized, c o l o n i z e d, f o l l o w i n gA merican h u m i l i a t i o n, offw westernization, a embarked upon af full-scale process e mbarkedu pona u l l s c a l ep r o c e s so e s t e r n i z a t i o n,a off w which process saw the establishment off part p 訂 to h i c hp r o c e s ss aw t h ee s t a b l i s h m e n to Yokohama ass a a w westernized trading center. Ass i inn Y okohama a e s t e r n i z e d住 a d i n gc e n t e r .A Calcutta, a n new Japanese social class emerged here, 1 c u t t a ,a ewJ a p a n e s es o c i a lc 1a s se mergedh e r e, C a which found itself inna anna alien cultural field, where the w h i c hf o u n di t s e l fi l i e nc u l t u r a lf i e l d,w heret h e off t tradition were rendered values and assumptions v a l u e sa n da s s u m p t i o n so r a d i t i o nw ere r e n d e r e d questionable. q u e s t i o n a b l e . The unsettled and contested contexts that resulted T heu n s e t t l e da ndc o n t e s t e dc o n t e x t st h a tr e s u l t e d formed the fertile ground for creative f o r m e dt h ef e r t i l eg r o u n df o rself-conscious s e l f c o n s c i o u sc r e a t i v e offi identity-building, based innt the articulation off projects p r o j e c t so d e n t i t y b u i l d i n g, b a s e di h ea r t i c u l a t i o no "otherness" from the This paper outlines the “ o t h e r n e s s "f rom t h e west. wes t .T h i sp a p e ro u t l i n e st h e off t two homologies inn t the life work h o m o l o g i e si h el i f e and a n dw ork o wo such s u c h Okakura Kakuzo (1862-1913), born and practitioners, kakuraK akuzo( 18 6 2 1 9 1 3 ) ,b o r na n d p r a c t i t i o n e r s,O innY Yokohama, Japan, cultural ideologue and brought uppi b r o u g h tu okohama, J a p a n, c u l t u r a li d e o l o g u ea n d off t the Japanese revivalist Nihonga founder f o u n d e r o h e J a p a n e s e r e v i v a l i s tN ihonga art 町t movement, and Abanindranath Tagore (1871-1951), ,a n dA b a n i n d r a n a t hT a g o r e( 1 8 7 1 1 9 5 1 ), m ovement from Calcutta, India, artist and founder offt the Bengal 台 omC a 1 c u t t a,I n d i a,a r t i s ta n df o u n d e ro h eB enga 1 Reconsidering Okakura Tenshin asst the Inventor off R e c o n s i d e r i n gO kakuraT enshina h eI n v e n t o ro Oriental Art History O rien t a IA rtH i s t o r y Shigemi Inaga, International Research Center for Japanese S h i g e m iI n a g a,I n t e m a t i o n a lR e s e a r c hC e n t e rf o rJ a p a n e s e Studies, Kyoto y o t o S t u d i e s,K The concept offO Oriental Art History issa a m modern r tH i s t o r yi odern T hec o n c e p to r i e n t a lA invention created under the Western impact. In its i n v e n t i o nc r e a t e du n d e rt h eW e s t e r ni m p a c t .l ni t s Oriental art, had too c clear a construction, Asian, or c o n s t r u c t i o n,A s i a n,o rO r i e n t a la r t ,h a dt 1e a ra On the one hand, the Oriental, orrA Asian, double hurdle. d o u b l eh u r d l e .O nt h eo neh a n d,t h eO r i e n t , 1 ao s i a n, objects selected toor represent that arttt toot the Western o b j e c t ss e l e c t e dt e p r e s e n tt h a t訂 h eW e s t e r n of fitting into the categories world had toom meet the test w o r l dh adt eett h et e s to ff i t t i n gi n t ot h ec a t e g o r i e s that Westerners had themselves established assd defining t h a tW e s t e r n e r sh adt h e m s e l v e se s t a b l i s h e da e f i n i n g the fine Arts. Attt the same time, these objects also had h e s eo b j e c t sa l s oh a d t h ef i n eA r t s .A h es amet i m e,t tooa avoid being seen assm mere by-products offW World Art t v o i db e i n gs e e na ereb y p r o d u c t so orldA r t History, assW Westerners defined it.t H i s t o r y, a e s t e r n e r sd e f i n e di . of the Ittw was innt this narrow space that the idea I asi h i sn a r r o ws p a c et h a tt h ei d e ao f血 e Orient innA Art was pursued innt the second half offt the O r i e n ti r tw asp u r s u e di h es e c o n dh a l fo h e Innt this paper I w will re-examine the nineteenth n i n e t e e n t h·century. c e n t u r y .l h i sp a p e r1 i l lr e e x a m i n et h e Okakura Tenshin played innt this context. Here I role that r o l et h a tO kakuraT e n s h i np l a y e di h i sc o n t e x t .H e r e1 propose tooe explore three points: (1) Toow what extent was p r o p o s et x p l o r et h r e ep o i n t s :( 1 )T hate x t e n tw as Okakura influenced byy I Indian thinkers like Vive O kakura i n f l u e n c e db n d i a nt h i n k e r sl i k eV ive Oriental values inn Kahnanda innh his effort toor rehabilitate K ahnandai i se f f o r tt e h a b i l i t a t eO r i e n t a lv a l u e si aw world-wide context; and toow what extent can weef find a a o r l d w i d ec o n t e x t ;a n dt hate x t e n tc a nw i n da parallel between Okakura's endeavors in Japan and p a r a l l e lb e t w e e nO kakur ぜ se n d e a v o r si nJ a p a na n d offKm Kmalaswami and E..B B. Havell innl India; (2) Too those t h o s eo a l a s w a m ia n dE .H a v e l li n d i a ;( 2 )T Okakura's changing images offA Asia what extent were w hate x t e n tw e r eO k a k u r a 'sc h a n g i n gi m a g e so s i a Orient the results offa a c changing environment and the a n dt h eO r i e n tt h er e s u l t so h a n g i n ge n v i r o n m e n t and the particular audiences toow which his books were a n dt h ep a r t i c u l a ra u d i e n c e st hichh i sb o o k sw ere addressed? The Ideals offt the East (1903) was written hel d e a l so h eE a s t( 19 0 3 )w asw r i 仕e n a d d r e s s e d ?T The Awakening of for enlightened British intellectuals; f o re n l i g h t e n e dB r i t i s hi n t e l l e c t u a l s ;T heA wakeningo f Japan (1904) (which was never published during his J apan( 19 0 4 )( w h i c hw asn e v e rp u b l i s h e dd u r i n gh i s lifetime) was written assa ad declaration offs solidarity with l i f e t i m e )w asw r i t t e na e c 1a r a t i o no o l i d a r i t yw i t h 1 35 135 。 999b yt h eA s s o c i a t i o n f o rA s i a nS t u d i e s ,I n c . ©1 1999 by the Association for Asian Studies, Inc. A l lR i g h t sR e s e r v e d All Rights Reserved Ordering Information O r d e r i n gI n f o r m a t i o n To obtain copies of the Abstracts for the 1992-99 Annual T oo b t a i nc o p i e so ft h eA bs 住a c t sf o rt h e1 992-99A nnual Meetings, please contact: M e e t i n g s, p l e a s ec o n t a c t : Association for Asian Studies, Inc. I n c . 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