@article{oai:minpaku.repo.nii.ac.jp:00003880,
 author = {川口 , 幸也 and Kawaguchi, Yukiya},
 issue = {1},
 journal = {国立民族学博物館研究報告, Bulletin of the National Museum of Ethnology},
 month = {Oct},
 note = {本稿では，プリミティヴ・アートと総称された非西洋圏の造形が，戦後の日
本でどのように紹介されたのかを，昭和30 年代に行われた展覧会を通してな
ぞり，そこに映っていた日本人の自己像を明らかにしようとする。1955 年（昭
和30），東京で「アジアアフリカ珍奇人形展」という展覧会が，バンドンで行
われたアジアアフリカ会議に合わせて開かれた。その後1960 年（昭和35）に
は，国立近代美術館で「現代の眼―原始美術から」展が開催される。わずか5
年間に，アジア，アフリカの仮面や神像たちは珍奇人形から原始美術へと昇格
した。この原始美術展は新聞，雑誌の大きな注目を集め，アジア，アフリカ，
オセアニアなど原始美術によって語られる「彼ら」と，近代化に成功した「わ
れわれ」との対比が強調された。さらに4 年後の1964 年（昭和39），東京オリ
ンピックの年，まず「ミロのビーナス」展が官民一体の協力によって実現した。
また東京オリンピックの芸術展示として「日本古美術展」などが東京で行われ
た。この展示には124 点もの縄文時代の造形が出品されていたにもかかわら
ず，「原始美術」という枠はここでは消えていた。おそらく，戦後復興を遂げ，
先進国の一員となったことを世界にアピールするうえで，日本の原始美術は不
都合だったのである。珍奇人形から原始美術への格上げも，原始美術とされた
縄文の土器，土偶の古美術への編入も，また「ミロのビーナス」展が行われた
のも，東京オリンピックを機会に，西洋先進国と肩を並べたということを国の
内外に向かって誇示しようとする明確な意思の表れだったといえる。ただし一
方で，土方久功のように，冷静に西洋に距離を置こうとしていた人間がいたこ
とも忘れるべきではない。, Works from non-Western areas are often called primitive art, and were
introduced to the postwar Japan through several exhibitions. This paper
reviews some of the exhibitions held in Japan in the 30s of Showa era (1955–
1964) to see how they represented so-called primitive art and consequently
how they reflected the self-image of Japanese people of those days.
In 1955 (Showa 30), an exhibition entitled ‘Curious Dolls from Asia and
Africa’ was held in Tokyo on the occasion of Asian-African Conference in
Bandung, Indonesia. Five years later, in 1960 (Showa 35), another exhibition
of primitive art ‘Today’s Focus: Primitive Art Seen through Eyes of the Present’
was organized by the National Museum of Modern Art, Tokyo. We can
see that masks and ancestor figures were raised from ‘curious dolls’ to primitive
art in only five years. This exhibition in 1960 attracted a lot of attention
in newspapers and magazines. Their articles emphasized a sharp contrast
between ‘They’, or the non-Western areas including Asia, Africa, Oceania,
represented by primitive art and ‘We’ meaning Japan and European countries
that had succeeded in modernization. In 1964 (Showa 39), four years later,
the year of Tokyo Olympic Games, an exhibition of the ‘Venus of Milos’
from Musée du Louvre was organized in Tokyo as a joint project of Japanese
government and a newspaper company. In the same year, another exhibition
‘Japanese Old Art Treasures’ was held as one of the official art exhibitions
accompanying the Olympic Games. As many as 124 works of pottery,
clay figures and others from Jomon period were displayed in this exhibition.
They had been treated as primitive art in Japan previously, but here no framing
as ‘primitive art’ could be seen. Probably introducing any of Japanese art
as ‘primitive art’ would have contradicted the intention of showing foreign
visitors that Japan was fully rehabilitated from the ruins of war to become a
member of the advanced countries. Raising ‘curious dolls’ to primitive art,
raising the clay works of ancient Japan from primitive art to old art treasures,
and organizing the exhibition of “Venus of Milos”, all of these efforts can
be said to be expressions of an intention to tell the Japanese people and foreign
visitors of those days that Japan was now modernized and a member of
the Western club. Still we should not forget that some Japanese, including
Hisakatsu Hijikata, were trying to keep a certain distance from Europe., Article},
 pages = {1--34},
 title = {珍奇人形から原始美術へ : 非西洋圏の造形に映った戦後日本の自己像},
 volume = {36},
 year = {2011},
 yomi = {カワグチ　, ユキヤ}
}