Art as Cultural Identity in Modern Nation-States

艺术作为现代民族国家的文化身份

基本信息

批准号：
08301004
负责人：
KANAZAWA Hiroshi
金额：
$ 5.82万
依托单位：
Kyoto University of Art and Design
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (A)
财政年份：
1996
资助国家：
日本
起止时间：
1996 至 1998
项目状态：
已结题

项目摘要

Modern nation-states developed a system that ensured the identity of their people by way of constructing an ideology of'nation' as a self-purposed organism. This ideology of nation-states also organized the institution of art. But because the very notion of nation-state as organism is taken from that of art, the role of art was not simply institutional in modern nation-states.In Japan, modernization awoke a nationalistic reaction in the 1880's, as seen in the privileging of Nihonga by Okakura Tenshin. However, this was in fact the introduction of an Occidental idea of art, that is, art as a form of national self-assertion. On the other hand, the typically Japanese (and not Chinese) tradition in which the art was removed from socio-political life urged some artists to find their art as a counterbalance to the Occidentalization of the nation. It was certainly true in the case of Natsume Soseki. Art as cultural identity thus bifurcated into two functions(an organic model of the nation-state, and a reference to the innate (at the same time artificial) self. However, at that very moment when art acquired these two roles, the historical attitude towards art began its diffusion, resulting in another phase of the modern concept of art : art had become no more a monument of any other organism than of itself. It was now a genre that provided museographical documents for the autonomous science of art.Ultimately, national identity found its course increasingly outside of the domain of art, especially in the area of mass communication. In the end, explicit reference to the'nation'persists in art, but only as a caricature of regionalism.

现代民族国家发展了一种制度，通过将“民族”意识形态构建为具有自我目的的有机体来确保其人民的身份。这种民族国家的意识形态也组织了艺术机构。但是，由于民族国家作为有机体的概念本身取自于艺术的概念，因此艺术的作用在现代民族国家中不仅仅是制度化的。在日本，现代化在 1880 年代唤醒了民族主义反应，这可以从对艺术的特权化中看出。冈仓天心的日语。然而，这实际上是西方艺术观念的引入，即艺术是民族自我主张的一种形式。另一方面，典型的日本（而非中国）传统将艺术从社会政治生活中剔除，促使一些艺术家将他们的艺术视为国家西方化的平衡。夏目漱石的情况确实如此。作为文化身份的艺术因此分为两种功能（民族国家的有机模式，以及对先天（同时是人造的）自我的参考）。然而，就在艺术获得这两个角色的那一刻，历史态度艺术开始传播，导致现代艺术概念的另一个阶段：艺术不再是任何其他有机体的纪念碑，而是它本身的一种流派，为艺术的自主科学提供博物馆文献。民族认同感日益凸显在艺术领域之外，特别是在大众传播领域，最终，艺术中仍然存在对“民族”的明确提及，但只是作为地域主义的讽刺。