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如同我们(英国人)面向着希腊、罗马,日本人把期待的目光投向中国。这是英国美术史家 Binyon Laurence 在他的《远东美术》(Painting of the Far East,1908)中的一段话。当我们回顾日本美术史时,不绝于目的,是中国美术压倒性的巨大影响。日本的美术,主要是以一直被古代日本人当作世界中心的中国大陆传来的美术样式、技法为规范,在充分学习的基础上,再发展起来的。从这个意义上,也可以说是一种“边缘美术”(marginal art)。明治维新以后,日本把期待的目光从中国转向
As we (British) face Greece, Rome, and Japan, they are looking forward to China. This is a passage by British art historian Binyon Laurence in his Painting of the Far East (1908). When we look back at the history of Japanese art, it is the ultimate goal that is the overwhelming influence of Chinese art. Japanese art mainly relies on the fine arts styles and techniques from mainland China, where ancient Japanese were regarded as the center of the world. It is based on full study. In this sense, it can also be described as a “marginal art.” After the Meiji Restoration, Japan turned its gaze from China