@article{oai:minpaku.repo.nii.ac.jp:00003959,
 author = {松山, 利夫 and Matsuyama, Toshio},
 issue = {2},
 journal = {国立民族学博物館研究報告, Bulletin of the National Museum of Ethnology},
 month = {Jan},
 note = {この短い報告では，1965 年に読売新聞社が主催して東京で開催されたアボリ
ジナル美術展「オーストラリア原始美術」展の資料を紹介する。この展覧会は
大陸北部アーネムランドやキンバリーの樹皮画と彫刻を主とするドロシィ・ベ
ネット・コレクションによって構成された。それがアボリジナルとのジョイン
ト展であったという意味で，オーストラリア国外での最初のアボリジナル美術
展であった。ここでは同展の『図録』を中心に，この展覧会にかかわる資料の
紹介を試みる。
　オーストラリア先住民に関する情報がほとんどなく，海外調査が困難であっ
た当時，彼らの芸術に直接触れることのできたこの展覧会は，日本の民族学・
人類学だけでなく，当時のオーストラリアの状況を色濃く反映したものであり，
それゆえにまた日本の研究者の注目するところとなった。それが展覧会4 年後
にランス・ベネット（ドロシィの息子）著，泉靖一編，原ひろこ訳『オースト
ラリアの未開美術』という大著を刊行させたのである。
　しかし，その後しばらくは，日本においてアボリジナル美術の展覧会が開催
されることはなかった。これが再開されたのは1986 年の神戸市立博物館と，
1992 年の国立民族学博物館の特別展および同じ年の京都と東京の国立近代美術
館の展覧会であった。現在では日本の博物館や美術館も，自らの研究にもとづ
いてアボリジナル美術を収蔵している。その先駆けをなしたのが，1965 年の
「オーストラリア原始美術」展であった。, In this short paper I will describe the first Aboriginal art exhibition held
in Japan, which had a big impact on Japanese anthropologists. The ‘Exhibition
of Australian Aboriginal Art’ was held in Tokyo in 1965 for around one
month and was planned by The Yomiuri Sinbun. This was the first Aboriginal
art exhibition accompanied by Aboriginal people not only in Japan but also
outside Australia. Unfortunately we have no documents or records about it left
today, except for a copy of the catalogue. The exhibition was titled ‘Australian
Primitive Art’ in Japanese, and it mainly displayed artworks from Arnhem
Land and Kimberley in the northern part of Australia. The artwork came from
the ‘Dorothy Bennet Collection’; she also attended the exhibition in Tokyo.
According to a comment on the exhibition by noted novelist Kenzaburou
Ooe, the artworks on show symbolized the humane Aboriginal civil society
which contrasted with the Japanese people of the time who were forced to be
involved in their own modern, complex, atomic power world.
For Japanese anthropologists this exhibition gave a chance to directly
obtain vivid information on Australian Aboriginal arts. They previously had
only academic information about Aboriginal culture through limited resources:
some ethnographies like A. P. Elkin’s, and W. L. Waner’s books from the
early 1940s. In 1969, four years after the exhibition, the famous Japanese
anthropologist Seiichi Izumi [1915–1970], edited a book with Lance Bennet
[son of Dorothy Bennet] entitled ‘Art of the Dreamtime; The Dorothy Bennet
Collection of Australian Aboriginal Art’; in Japanese it is called ‘Australian
Primitive Art’.
After this event there were no exhibitions of Aboriginal art held in galleries
or museums in Japan until 1986 and 1992. In 1986 The Kobe City
Museum and in 1992 The National Museum of Ethnology, Osaka, and The
National Museum of Modern Art, Kyoto and Tokyo, held exhibitions of
Aboriginal art. At the Kobe exhibition, Dorothy Bennet visited again to display
some artwork from Arnhem Land, but the 1992 exhibitions had no connection
with the 1965 one but were planned by museum staff who had completed
field research in Aboriginal communities in Australia from the 1980s
on. Today a number of Japanese galleries and museums have Aboriginal art
in their collections and just as importantly these institutions see Aboriginal art
more correctly as contemporary art and not ‘primitive art’.},
 pages = {149--236},
 title = {「オーストラリア原始美術」展とその民族学的背景 : 日本最初のアボリジナル美術展をめぐる資料の紹介},
 volume = {32},
 year = {2008},
 yomi = {マツヤマ, トシオ}
}