The Prototype Of The Modern Japan Art Museum(1869～1926)

In view of the obvious development similarities between the prototypes of Chinese and Japanese art museums and those museums in the early period,this research will naturally have the unpredictable value.Based on the above historical data,this paper mainly explores many quasi-art museums before the birth of the Japanese art museum,discusses their changes in the form,value and social status,and further changes the three definitions.According to the different thinking,the paper also puts forward the proposition of “what is an art museum”,as well as considers the development of art museums and the transformation of related resources in the contemporary context based on the current reality in China.The prototype development of the Japanese art museum actually is an area worthy of the deeper research.On the one hand,the prototype of the Chinese art museums,the construction and development of art museums in the early period can be more or less affected by Japan,for example,Nanking-Unyre an l’exposition Expo has learned from the Japanese expo,and the curator,Yan Zhikai,of Tianjin Municipal Art Museum has gone to Japan for the investigation since its founding.However,this is just one aspect of this research.Although China began to build museums and art museums in the early period of the Republic of China,China’s art museum construction has always lagged behind the international level due to various reasons.Through studying the impact of the Japanese art museums on the construction of Chinese art museums in the early period,including its explorations of cultural creativity,social services and other functions,the paper aims to provide the relevant thinking and references for the art ecology construction of those contemporary art museums under the China-led world culture system in the future.This paper mainly takes the pre-form of the Japanese art museum as the research object,and also adopts the field investigation and literature research methods.From 1869 to 1926(the second year of Meiji to the first year of the Showa),the paper explores how various largescale exhibitions have evolved into art museums under the quantitative premise.According to the chronological order,the paper explores the trendy movement of the Taisho art museum in Japan,in order to complete the three definitions of the changing orientation of the modern art museum.In fact,these three definitions have reflected that the concept of the museum is not only constantly changing along with the needs and changes of the times,but the interaction result of the three modes of exhibition,artist and the social activity.On the other hand,Japan not only has built art museums in the early period,but various art ecosystems through various methods and means.Starting from the pioneer Takahashi,Japan has fully experienced the great power of Western cultures since the Meiji Restoration,and then started to study and imitate madly,thus establishing its own theoretical system of art museum.What’s more,its ideas also have exert the great impact on the whole world,which can not be ignored easily.On this basis,this paper summarizes three aspects of experience about the future development direction of art museums,and also considers what the essence of "art museum" defined by the Japanese.From the earlier learning and imitation to the later competition of cultural powers,the paper focuses on the development of Japanese art museums from the Chinese perspective,then introduces the ultimate crosscultural and time-space question of "what is an art museum",and further proposes the future art museum may evolve into an information dissemination platform in the post-information era.Therefore,through taking advantage of the definition renewal of the art museum in the oriental context,as well as combining with the art exhibitions,influence of artists,social activities,as well as the commercial and multimedia development direction,China still needs to build the art museum into a powerful communication platform and medium in the future,in order to better re-integrate and transform the current art resources.