Chunghsien Lin

From Enlightenment to Utility and Sentimentalism: Art Appreciation in Japan

Chunghsien Lin – Miyazaki International University, Japan

Abstract:

The term ‘art’ was introduced to Japan nearly 150 years ago under the leadership of the Meiji government. Shaped by the economic and political climate of the time, this term carried a strong connotation of ‘usefulness.’ It introduced a distinction between the object of art appreciation and the viewer, contrasting sharply with Japan’s traditional aesthetic concept of ‘oneness with the universe.’ This opposition reflects the divergence between Western aesthetics and Japanese traditional values. Furthermore, the introduction of this term influenced art education policy, with ‘enlightenment through sight’ becoming a central educational goal during this period. Today, art appreciation is incorporated into Japan’s compulsory education curriculum, with an emphasis on its ‘effects.’ Beyond the classroom, the construction of art museums and the development of collaborations between schools and museums have attracted increasing attention. Notably, in the late 1990s, the rise of dialogue-based art appreciation, introduced from the United States, further shaped the discourse around art. This study examines the historical establishment of the term ‘art’ in Japan and analyses how the Meiji government’s pragmatic framing of the term, particularly before World War II, continues to influence contemporary art education, especially through discourses on art appreciation. The study focuses on two main areas: art education within formal school settings and informal learning activities at art museums. Both approaches tend to frame art appreciation through the lens of ‘usefulness.’ However, when art appreciation is considered outside the context of formal education, the discussion often shifts toward sentimentalism, losing its connection to broader social education. This investigation aims to identify the blind spots and conflicts in current Japanese art education, particularly in the area of art appreciation, from the perspectives of art education and Japanese art history. It argues that these issues are deeply intertwined with the pragmatism that shaped the initial establishment of the term ‘art’ in Japan.