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83La-Reinterpretation.Pdf shige l1 1i inaga "La réinterprétation de la perspective linéaire au Japon (1760-1830) et son retour en France (1860- 1910)", shigel11i inaga Actes de la recherches en sciences sociales, n゜49, 1983, pp.29-49. la terprétatio dt la pqrpective linéaire auJapon 1740-18]0 elson retour Importée au milieu du I8e siècle, la que française, nous avons cherché à perspective linéaire occidentale offrait récqncilier ici ces deux positions, qui enPtuna~ un nouvel espace plastique aux artistes sont plus complémentaires que con- japonais. En adaptant cette technique tradictoires. à leur propre culture, ceux-ci devaient &3l créer une nouvelle forme caractéristique 1-Liliane Brion-Guerry a évité la com- -te de représentation de l'espace. Si les paraison entre l'art de Cézanne et - impressionnistes et leurs successeurs ont l'estampe japonaise sous prétexte que n 0 -:J910 tiré de l'estampe政批誠一問的判官山卵白官官同'郎、日間的凶作山ω japonaisekub des ensei-J «le paysage japonais pratiquait alors la gkdca&mn'mm-u'ヱ pmdmωmMe-mnjihtaatuuMbosssoahm問 山町出向叶伐弘 戸仰山 一…一一……… gnements仇 essentiels pour le renouvel- perspective協ピ occidentale……… monoculaire». 時持久 emhmAmcmG lement d'une'mpw représentation de l'espace (CézanneM et l'expression de l'espace, 旬、刊自目印加附・組問mJm' q 北町伽叫悦批 dégagée du modèle de la Renaissance,目的向・畑山山山町位制ueh， Paris,内 Albin Michel, 1966, p. 255). c'est,-EmmdHMmhkm en partie du moins, qu'ils ont cru Ce commentairemum nous paraîtmM discutable, 叩 ω avoir trouvé白色 uneghm solution・抑制仕・創 à leur problèmeω car il semble réduire l'art de l'uldyo-é dans・ cette perspective transformée à la aux詑抑制 influences occidentales. Hokusaï, Jesa-mdmspdtnoatntodkodppmmwpe 仰向郡山側九出向的立加郡山目的 こい …川町巾… japonaise. mmM.On ne sa!lrait'm-moρhudn d~nc e~timer par exemple, a wMignoré le principe de la exacte~ent.m la porte~ du «japornsm,e»'m perspective linéaire et l'a transformé à mw-nLm sans ternr compte des mfluences 山側exercees sa manière. Voir A. Flocon et R. Taton, 肌 ロ九州側凶∞パ問山制必 μd wh ……慌持部品……帆…同協同 ~uparayant-mC印刷 par l:art occidental sur l'art La perspective, Paris, PUF, 1963, p. 28 JaponaIS au I8e SIècle.,.,白川 , et S. Inaga,山 Transformation de la Certes, on, a ddparlebhhM perspective伊仙均励仰 linéaire - Jun aspect des 刊 mFamehde~a bea~coup 叫∞， d~幽民間、 .la mkvogue. d~ 1 art p"ejaI?~naIs.meh dans les échanges mJculturels entre…………渋川凶器地也批判一品川山 l'Occident et le milieux art~s!~ques pan~I,ens dans la Japon, Le Truchement, Bulletin de 戸川 muω seconde白川剖mm・ mOitIe du Ige siecle, mm-et de la liaison du以説山肌 Centre de recherches histo- prétendue influence.川 des e~tampes et riques sur les relations artistiques entre mmb 叩制印刷mhωmw仰い ω d'autresd ・凶側・ formes・ d'art JaponaIS sur tel ou les cultures Université de Paris 1 unh mdl:ω民一 a 附……附仰向恥注託協惣別協同一MM tel郎副凶 artistejp impressionniste. Mais,ω. jusqu'à山田印、 Panthéon-So;bonne 2' 1983. Pour une nos jo.urs,.mkm尚一日い l<:s引 .cherc~eur~Jpr・ occi~entaux聞は即日仇 bibliographie高間 détaillé~ concernant «le on! 加出向pns, V1s-a-vI~mmmuwmm de 1 arth JaponaIS, deux japonisme», voir G. P. Weisberg et al., attItudesm opposees : la侃 plupart3m・ ont euaHrη JaponismedCA Japanese Influence on tendance,付制 bhsinon à cacher, du moins à French Art 1840-1910 Cleveland 抑制削・ 郎組 d白.町 岩波伽 négligerEtm les influences des他久 arts occiden- The Clevela~d幻 Museum of Art, 1975: 町民・附叫川 tauxMus sur l'ukiyo-é,，刊、 tandisand-mM que d'autresa 民，y pp. 215-218Ymc (catalogue d'exposition) ; ont trouvémmMmpmu-mu un prétexte,MC sinonAOhuom à山叩 dénier,mm Ch. Yamada (éd.), Dialog in Art - du moins郎副 à minimiser叩 le rôle qu'ont joué East and West, Tokyo, Kôdansha- les∞ estampes叫 omdMjaponaises chez les peintres international,L 1976, bibliographie établie occidentaux (1). par Ch. Ikégami ; T. Omori (éd.), A 叫 mJU-mpmw・問 か附 げト ehm.u出脚A travers une 伽仰esquisseH sommaireme Ukiyo-e Prints and the Impressionist de l'histoire des révolutionsω・ de l'espace… Paintersm hJhviMmm- Meeting of Eas( and West, plastique tant dans la peinture japonaise Tokyo,品川町 Committee for the Year 2001, 1979-80, pp. 250-253Mmdj (catalogue d'expo­ sition)hMdmmvMK ; K. Berger, Japonismus in der *Cet *Cet arti articlec1 e expose 1es les resu1tats résultats d'un westlichen Malerei, 1860-1920, Munich, travail travail travail qui a fait 1'objet l'objet d'un memoiremémoire Prestel Verlag, 1980 ; S. Wichmann (éd.), v 鉱山…れ蜘 intitu1 intitulé己 ProblemeProblème de la perspective perspective dans Japonismus, Ostasien und Europa la la peinture p.einture francaise française et japonaise japonaise Begegnungen in der Kunst des 19.u. 20. pr présentéるsente pour 1a la licence 色èss arts liberaux libéraux Jahrhunderts,凶 Hersing, Schuler Verlags­ aà 1a la section francaise française de 1a la Facu1te Faculté des gesellschaft,出側 mh 川1980, pp. 425-427. arts arts 1i libérauxberaux de l'Universite l'Université de Tokyo S. Oshima, Japonisme, Tokyo, Bijutsu­ en 1978. Kôronsha, 1980, pp. 310-327. -- 30 Shigemi Inaga L'assimilationL'assimila tion Bien que l' l'adaptation adaptation 1i libre bre de la de la perspective lineaite linéaire perspective 1in linéaire eaire soit soit,， chez MasanobuMasanobu,， imeune lmitation imitation superficielle superficielle,， la faconfaçon dont Les premieres premières tentatives d'adaptation de 週il incorpore cette technique inhabituelle la la perspective 1in linéaire eaire au JJaponapon nn'en 'en est pas moins remarquable. La remontent aà environ 1740. Okumura superposition 'immediateimmédiate,， dans un mememême Masanobu (1 (1686-1764),686 ・1764) ， qui se nomme cadre cadre,， d'un systemesystème etranger étranger de repre- repré­ ((泊 itiateur du trompe- l'巴 il (uki-e)>> ，au «initiateur du trompe-l'œil (uki-é)>> , au sentation de l'espace sur le systemesystème JaponJapon,， nous en foumitfournit quelques traditionnel permet aà ces procedes procédés exemples. exemples. En principe principe,， il n'adapte la heterogenes hétérogènes une sorte de coexistence ou perspective perspective lineaire linéaire que pour representer représenter de symbiose eclectique. éclectique. l' l'espace espace intérieurint むieur tel qque ue le th théâtre給 tre ou la Quelle est la source de ce trompe-trompe­ salle.salle . L'L'estampeestampe intitulee intitulée En prenant le' l' l'œil ail chez Masanobu ? Tout recemmentrécemment frais frais,， le soir soir,， αuau Pont de RyRyôgoku-bashiδ goku-bashi JuJulian1i an Jinn Lee a presente présenté une hypothesehypothèse (出.(ill. 1) est d'autant plus caract caractéristiqueむistique selon laquelle ce serait un ouvrage que le peintre y devoile dévoile son 泊inaptitudeaptitude aà d'Andrea del deI Pozzo (1 (1642-1709)642 ・1709) : app 1i quer cette nouvelle technique a appliquer cette nouvelle technique à Perspectiva pictorum... (1 (1693-1699).693 ・1699). l' l'espace espace exterieur extérieur,， au paysage. L'espace Traduit en chinois en 1737 par les du paysage est traitétraite aà vol d'oiseau d'oiseau,， jesuites jésuites portugais portugais, ， il aurait ete été introduit representation representation représentation traditionnelle dans la au Japon apres après la levee levée de l'interdiction peinture peinture japonaise depuis la peinture en d'importer des livres concemantconcernant rouleau rouleau du lleIle si siècle.とcle. La superposition l' l'OccidentOccident (1720). Lee pense d'ailleurs hardie hardie et immediateimmédiate dd'une 'une forme que ce n'est pas Masanobu mais ToruTorü nouvelle nouvelle dd'espace 'espace en perspective 1linéaire面白ire Kiyotada qui a introduit pour la premiere première et et de l'espace aà vol d'oiseau traditionnel fois au Japon la technique du trompe-trompe­ donne aux observateurs modemesmodernes l' l'œil由日 (3). l' l'impression impression dd'une 'une pi pièce，告 ce flottante flottante,， impression impression causee causée par le manque d'u d'unité凶 te entre entre ces espaces. Cette superposition 1939,1939 ， pp. 207-212 (l (lee 22 novembre trahit trahit l' l'incompréhensionincomprehension de l'artiste ou 1901). Voir aussi un article de Balz en bien bien sa nnégligence匂1i gence dans l'app l'application1i cation du allemand reproduit par S. Hirakawa dans principe principe de la perspective 1i linéairen句ire (2). Hikaku-bunka-kenkyuHikaku-bunka-kenkyû (Etudes de culture comparee)comparée),， 66,， Universit Universitéる de TokyoTokyo,， FacuFaculté1tる des arts liberaux. libéraux. CCf.f. S. Hirakawa. Hirakawa, 2-Le probl problèmeとme delicat déiicat et crucial de Wakon-yosaïWakon アosai ・ no keifu kéifu (Gene(Généalogiea1 ogie de l' l'acceptation acceptation de techniques etrang étrangères,るres ， <<l «l'esprit'esprit japonais et la technique occi- occi­ qui qui peut donner lieu aà une << «mauvaise»mauvaise >> dentale dentale»>> )， ),Tokyo,Kaw~dé-shobô-shinsha, Tokyo ，Kaw a. de ・sho bo-shinsha ， comprehensioncompréhension ou assimilation assimilation,， est 2e ed. éd.,， 1976 (th (thèse色se d'Etat) d'Etat),， pp. 108-121108 ・121 particulierement particulierement vif a propos du J apon. (voir un compte-rendu de cet ouvrage par particulièrement vif à propos du Japon. J. Pigeot dans Critique ， fevrier 1974). Des ecrivains écrivains celebres célèbres tels que Natsume J. Pigeot dans Critique, février 1974). Soseki Soseki et Mori Ogai en font etat ，ainsi Toutefois l' l'importarice importance serait donneedonnée aà Sôséki et Mori Ogaï en font état, ainsi la structure d'integration des るlements que ll'Allemand'Allemand Toku Erwin Balz qui la structure d'intégration des éléments reproche reproche aux Japonais de cueillir les etrangers étrangers plutot plutôt qu'aqu'à leur nature meme.même. reproche aux Japonais de cueillir les C f. Y. Murakami ，Kindai nippon kagaku fruits fruits sans vouloir cucultiver1t iver les arbres. Cf. Y. Murakami, Kïndai nippon kagaku f. C f. S. Natsum 己.G 己ndai Nihon no kaika no ayumi (Histoire de la science au JJaponapon Cf. S. Natsumé, Géndaï Nihon no kaïka moderne) ， Tokyo ， Sanseido ， 1968 ， (L'(L'EpanouissementEpanouissement du JJaponapon contem-contem­ moderne), Tokyo, Sanséïdô, 1968, pp. pp. 166 ・167. porain porain,， 1910),1910) ， Oeuvres completes complètes,， pp. 166-167. TokyoTokyo,， IwanamiIwanami-shotén, -shot 己n， 1966,1966 ， vovol. l.
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