일본미술사 성립기의 인도미술 인식 - 메이지(明治)기에서 다이쇼(大正)기를 중심으로 -

Abstract

The Japanese art-historian Hamada Gosaku wrote an article under the title of ｢Concerning on the Greco-Indian Buddhist Art (希臘印度式佛敎美術について)｣ in the first art-history journal of Japan named 『Kokka (國華)』 in 1906. The word of Greco-Indian is an important perspective of how the intellectuals at those periods viewed Asian Art History. Originally, the term 希臘印度式 in Japanese, is a translation of the words Greco-Indian or Indo-Greek, which were used by Western researchers. The concepts of Greco-Indian art were not clear in their substances, but they were well comprehended by the Western scholars with prejudice in the 19th century. Japanese scholars used the pure translation of the term Greco-Indian. This means that the Japanese were largely depending on western concepts for the construction of the history of Japanese art. However, the images that the Japanese imagined about the Indian art differed from those of the Westerns. It was because the western point of view, based on the Orientalism towards India, was different, while the Japanese had to make the concept of the East. Okakura Tenshin emphasized the influence of India on the mural paintings of the Horyu-ji (法隆寺) Kondo, and the arts in the Shosoin (正倉院). He paid special attention on the cave temples and wall paintings in India like Ajanta, treated them as the important origin of Japanese art. In 1893, Ito Chuta claimed the applications of entasis on the columns in Horyu-ji as a result of the cultural exchange between the East and the West. And he named them Greek Doric order. During the Meiji Era, the Japanese researchers fully accepted the Western point of view about the Indian art rather than creating their own perspective, and actively researching the arts. As a result, they understood Indian arts with an obscure angle of Greco-Indian art, and tried to explain their arts on that basis.