近代日本的中国美术品鉴赏与帝国身份认同——以志贺直哉《万历赤绘》为切入点

The Appreciation of Chinese Artwork and Imperial Identity in Modern Japan:Taking Naoya Shiga's Banreki Akae as an Example

日本“白桦派”代表作家志贺直哉被誉为“日本小说之神”,他于1933年在《中央公论》杂志上发表了小说《万历赤绘》,真实还原了近代日本人鉴赏中国美术品的历史景象,揭示了中国美术品身处异邦的多舛命运,由此可管窥近代日本利用中国美术品鉴赏强化了其自身对帝国身份的认同。主人公“我”在鉴赏过程中产生的对中国这一“他者”形象的认知与想象,以及透露出的日本人的审美意识,诠释了近代日本实行帝国扩张的深层逻辑。近代日本的中国美术品鉴赏作为象征着暴力性的语言符号,成为日本架设帝国身份的重要元素。

Naoya Shiga,a representative writer of the Shirakaba-ha(literally"White Birch Society"),is hailed as"god of the novel"in Japan.His novel Banreki Akae(Chinese Ming Wanli Porcelain vase)published in the magazine Chuo Koron in 1933,which truly restored the historical scene of modern Japanese people's appreciation of Chinese artwork and revealed the turbulent fate of Chinese artworks in a foreign country.From this,it can be seen that modern Japan used the appreciation of Chinese artwork to strengthen its own identity as an empire.The protagonist"I"'s cognition and imagination of China as the"other"in the process of appreciation,as well as the aesthetic consciousness of Japanese people revealed,explain the deep logic of imperial expansion of modern Japan.The appreciation of Chinese artwork in modern Japan,as a linguistic symbol of violence,became an important element in the construction of Japan's imperial identity.