戦後沖縄における美術の成立と展開過程 : 川平朝申との関わりを手がかりに

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  • The establishment and development of art in post-war Okinawa : Taking clues from Choshin Kabira’s involvement
  • センゴ オキナワ ニ オケル ビジュツ ノ セイリツ ト テンカイ カテイ : カワ ヘイ チョウシン ト ノ カカワリ オ テガカリ ニ

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This thesis explores the processes involved in the establishment and development of modern and contemporary art in Okinawa by focusing on Choshin Kabira (1908-1998), who made great achievements in the various cultural affairs of post-war Okinawa. The purpose of this thesis is to examine the mechanisms that established art in Okinawa comprehensively by using the experience of Choshin Kabira, who appeared on the scene at a historical turning point, and his perspective on art. This thesis will also aim to clarify the meaning “systems for art” bore for Okinawan society before and after the war. Our examination resulted in the following findings. 1. The concept of “art,” created in the modern era, was brought to Okinawa along with the “systems for art” and became established via art education. 2. In post-war Okinawa, the US military and the Okinawan public under their administration pursued together the most primitive form of artistic activity for the human aesthetic experience. This was where the first movements for the appearance of art occurred. 3. Art as a global communication medium enables one to reaffirm one’s own identity and allows both internal and external expression. This signified great power to both artists and the cultural government administrators. Further, regaining the recognition of central government-sponsored exhibitions enabled cultural attribution (national unification) to the central existence (the mother land) to be confirmed. In summary, “art” and the “systems for art” that were established in modern Japan were socially necessary for the rebirth and restoration of post-war Okinawa.

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