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第 4  期


The First Bunten and its Viewing Public
作者 五十殿 利治
Author Omuka Toshiharu
關鍵詞 受容史文展櫻俱樂部東京勸業博覽會展覽審查展示空間藝術評論大眾文化
Keywords history of reception, Bunten, Ministry of Education Art Exhibition, Sakura Club, Tokyo Kangyo Exhibition, exhibition space, art criticism, mass culture
摘要 1907年(明治40年)開幕的文部省美術展覽會(簡稱文展),從眾多面向而言都是近代日本美術史上極其重要的事件。展覽的成立包含了展覽內容、觀者與展覽本身,本文以文展開設與觀眾的問題為中心,從受容、鑑賞史的角度,考察文展在近代日本文化中所扮演的角色。


Abstract The opening of the first Ministry of Education Art Exhibition (commonly called the Bunten) in 1907 was an extremely important event in modern Japanese art history. Aside from the exhibited objects and the exhibition itself, I consider “the audience” an essential element of an exhibition. Therefore, this article will mainly concern the viewers and the Bunten exhibition. It will consider the role of Bunten within modern Japanese culture by exploring the history of reception and connoisseurship.

Since the Bunten was not the first fine art exhibition in Japan, it is necessary to discuss some events before it. First, in December 1906, certain reporters from major newspaper publishers in Tokyo founded the Sakura Club. This Club promoted the establishment of the “Public Art Institute” in May 1907. With the power of mass media behind them, their appeal had deep influence. Second, the Exhibition for Encouragement of Industry (Kangyo Exhibition), held in Tokyo several months before Bunten, served as a prelude to the Bunten. A comparison of the two exhibitions yields an improved understanding of their characters in terms of the roles of the judges' reviews, their reception by the audience, and critiques from the public.

The Bunten, in the public opinion of that time, was considered successful. This article will also discuss which aspects contributed to the success. Compared with the Kangyo Exhibition, the Buten had a much better display space, and the rules of judgment were stricter. More importantly, however, there also appeared critiques of the judgments and of criticism itself. These show that the first Bunten was a milestone in exhibition culture, since it marked the time that art exhibitions began to play a significant role in shaping mass culture.
/ 許綺玲    Chi-Lin Hsu
/ 吳方正    Fang-cheng Wu
/ 謝佳娟    Chia-chuan Hsieh
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