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11 Tourist Library 29, Japanese Sculpture

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17 p p.269f p p p p No p.16f. 19 V p.10f. 20 p p Japanese Sculpture NIPPON 23 p.9 24 p p p p p III 1995 pp p p p p

18 Phases of Art Appreciation As Regards Japanese Sculptures, Published by Bijutsu Shuppansha Masuda Rei The subject of this paper is the publication Japanese Sculptures (total of 6 Volumes), which was published by Bijutsu Shuppansha from 1951 to This collection of photographs of sculptures is examined using art appreciation as the keyword. Japanese Sculptures covers antique Japanese sculptures from prehistoric times to the Kamakura era, divided into periods. Each volume is a photographic collection of sculptures shot by one photographer, respectively. The four photographers involved all began their careers before World War II, and for the latter half of their careers, in the post war years, had made photographing cultural assets, such as Buddhist images and old shrines and temples, their lifework. Of them, during the prewar and war periods Domon Ken and Fujimoto Shihachi had worked in the field of reportage photography that adopted modern graphic design. Therefore, they were photographers who had practical experience with the modern photographic expression suitable for that field. Another photographer, Sakamoto Manshichi, had been deeply involved in the Mingei (folkcraft) movement, led by Yanagi Muneyoshi during the prewar years, and Yanagi depended on him greatly as a photographer equal to the modern aesthetic perspective of the movement. The photographs in Japanese Sculptures reflected these careers of the photographers and were innovative in that the subjects, antique sculptures, had been photographed based on experience appreciating the objects through the eye of a modern photographer. At the same time, Japanese Sculptures was a landmark publication, as it introduced antique sculptures to the ordinary art lover, unlike the theretofore regard for them only as being the research subjects of experts. In their remarks, Oshita Masao, the president of Bijutsu Shuppansha, the publisher, and his brain trust, which included Imaizumi Atsuo, deputy director of the National Museum of Modern Art, Tokyo, and critic Takiguchi Shuzo, both of whom were involved in Japanese Sculptures as editors, indicated that by introducing antique sculptures to the ordinary art lover it was their intention to create an opportunity for a new art appreciation experience through a modern aesthetic perspective. The Domon s and Fujimoto s photographs in Japanese Sculptures are in themselves the objects of art appreciation as works by individual photographers, while also having the multilayered character of functioning as models from which to learn the perspective of modern art appreciation, for the supposed readers of this photographic collection of sculptures -- ordinary art lovers. This is the conclusion of this discourse. 84

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