uals. By 1952, however, Noguchi became the object of strident criticism which sharply curtailed his subsequent effectiveness as a leader of the contemporary reformulation of national culture in Japan. This erratic reception pivoted on tensions among the often conflicting aspirations regarding Japanese cultural character in Noguchi's social environment in the United States and Japan. Such tensions can often be traced to friction between manifestations of Orientalism (the discourse of Western views of the East described by Edward Said) and the ~ (the nativist tradition of self-definition in modern Japan described by Peter Dale). This study investigates Japanism as it was abetted or repressed in formulations of artistic nationality by individuals in the American art community such as Clement Greenberg, Yasuo Kuniyoshi, Okada Kenz6, Ad Reinhardt and Mark Tobey. Meanwhile, their colleagues in Japan are considered in parallel ; they were constrained to negotiate between the foreign character considered intrinsic to the modernism they admired and their Japanese nativist aspirations. Contrasting responses to this dilemma can be seen in the work of Hasegawa Sabur6, Kenmochi Isamu, Okamoto Taro, Shirai Sei'ichi, Takiguchi Shuzo, Tange Kenz6 and Taniguchi Y oshir6. One way of taking stock of the various careers and works of art and design as well as critical texts which figure in this account is to consider how they effected the binary taxonomy of East and West. Did the contemporary manifestations and classic monuments of East and West come to seem more or less polarized as a result of the events discussed? Although there are many answers to this question, it is not difficult to understand most of the works of art and design discussed as narrowing the gap between these two cultural principles. For example, while biomorphic Surrealism and Zen Buddhism might be regarded as "belonging" antipodally to the West and East respectively, N oguchi's sculpture "Mu" suggests an apparatus which could evoke them in unison. Likewise, N oguchi's Hiroshima cenotaph design conjoins such distant synecdoches of West and East as the parabolic morphology of concrete engineering of Robert Maillart and Eero Saarinen and the primal Japanese haniwa and magatama. Moreover, -58
元のページ ../index.html#82