This thesis deals with the relationship between religion and aesthetics in Japan. At the beginning of the Meiji period, some religious artifacts, for example Buddha statues and Buddhist paintings and Buddhist temples, were not included in the category of aesthetics. Through the energetic activities of Tenshin Okakura Kakuzo and Ernest Francisco Fenollosa, religious artifacts got the title of aesthetic. Of course aesthetic is not a Japanese concept, but Tenshin and Fenollosa sought a Japanese original aesthetic. Their aesthetic theory was supported by Georg Wilhelm Friedrich Hegel. Fenollosa proclaimed, “The ideal is the border between aesthetic and non-aesthetic,” in his speech. When they stood with this interpretation, they could find aesthetic by themselves. And they found Japanese original aesthetic in pre-modern statues, paintings and buildings which were made with religious concept. Their activities was around 1880s. After that there was a huge range arguments about aesthetic in Japan. Chofu Anesaki Masaharu, who is the founder of Japanese religious studies, was one of these polemics. He argued that both religion and aesthetic were derived from ideals. This kind of argument was not uncommon after 1900s and his opinion about religion was truly a reflection of the activities of Tenshin and Fenollosa.
内容記述
論文/Articles
雑誌名
東京大学宗教学年報 = ANNUAL REVIEW OF RELIGIOUS STUDIES
巻
34
ページ
157 - 176
発行年
2017-03-31
ISSN
02896400
書誌レコードID
AN10032645
出版者
東京大学文学部宗教学研究室
出版者別名
Department of Religious Studies. The University of Tokyo
宗教的美術あるいは芸術的宗教の成立 : 日本の宗教における美的側面とその言説
rel034009.pdf
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