Batı'nın Hayali, Doğu'nun Gerçeği: Meiji'den Savaş Sonrasına Japon Estetik Modernliği

Year 2025, Volume: 34 Issue: 2, 659 - 689, 30.12.2025

Zehra Canan Bayer

https://doi.org/10.29135/std.1716128

Abstract

Bu makale, Meiji döneminden savaş sonrası döneme uzanan süreçte Japon sanatının modernleşme deneyimini, Batı etkisiyle kurduğu özgün ilişki bağlamında inceler. Çalışmada, Japon sanatının Batı estetik normlarını yalnızca taklit etmediği, aksine onları yerel geleneklerle melezleştirerek kendine özgü bir modernlik dili inşa ettiği ortaya konmuştur. Yōga ve Nihonga arasındaki gerilim, savaş öncesi dönemde kültürel kimlik tartışmalarının sanat alanındaki yansıması olarak ele alınmış; savaş sırasında estetik milliyetçiliğin, devlet ideolojisiyle bütünleşen bir görsel stratejiye dönüştüğü gösterilmiştir. Sessiz direniş biçimleri, sansür baskısı altında sanatçıların geliştirdiği dolaylı anlatım teknikleri bağlamında analiz edilmiş; ma ve yūgen gibi Japon estetik kavramlarının bu stratejilere nasıl zemin sağladığı tartışılmıştır. Savaş sonrası Japon sanatında Gutai gibi oluşumlarla geleneksel-modern gerilimin nasıl radikal biçimde yeniden yorumlandığı gösterilerek, Japon modernliğinin bir aktarımdan ziyade özgün bir tahayyül olduğu vurgulanmıştır. Sonuç olarak, Japon sanatının modernleşme süreci, yalnızca Batı etkilerine yanıt veren bir uyarlama değil, Doğu’ya özgü estetik bir modernlik projesi olarak değerlendirilmelidir.

Keywords

Japon modernliği , estetik milliyetçilik , sessiz direniş , Gutai Grubu , ma ve yūgen

The West’s Fantasy, the East’s Reality: Japanese Aesthetic Modernity From the Meiji Era to the Postwar Period

Abstract

This study examines the reconfiguration of modernity in Japanese art from the Meiji Restoration through the postwar era, focusing on how traditional aesthetic values were adapted, resisted, and transformed under the pressures of Westernization and nationalism. Following the Meiji period’s rapid modernization, Japanese artists faced the dual challenge of embracing Western techniques while preserving a distinctive cultural identity. This dynamic is explored through the tension between Yōga (Western-style painting) and Nihonga (Japanese-style painting), which reflects broader societal negotiations between tradition and innovation.
The research employs a qualitative methodology based on historical analysis, critical visual interpretation, and theoretical frameworks drawn from postcolonial studies, particularly Homi Bhabha’s concept of hybridity. By examining state-sponsored exhibitions such as Bunten and Teiten, and the evolving role of art institutions, the study illustrates how the state strategically used visual culture to promote a cohesive national identity while artists simultaneously found subtle ways to critique these impositions. Key aesthetic concepts like ma (meaningful emptiness) and yūgen (mystical depth) are analyzed as vehicles through which artists conveyed complex political and existential concerns under censorship.
In the 1930s and 40s, despite intense ideological control, a silent resistance emerged within the arts. Artists utilized indirect symbolism, minimalist compositions, and empty spaces to encode critiques of militarism and imperial authority. Journals such as Bijutsu Techō served as critical platforms that hinted at these nuanced oppositions through coded language, further demonstrating how aesthetic strategies evolved into forms of cultural survival.
The study highlights how the Gutai group’s radical experiments after World War II, often perceived as a rupture, in fact continued the lineage of prewar aesthetic strategies, albeit through more overt and corporeal forms. The concept of “Eastern modernity” is developed to frame this trajectory—not as a derivative of Western paradigms, but as an independent, culturally embedded reimagination of modernism.
Findings indicate that Japanese modern art did not passively absorb Western models; rather, it actively rearticulated them within local philosophical, aesthetic, and political frameworks. This process reveals a continuity of negotiation, resistance, and innovation that challenges linear narratives of modernization. By tracing the transformation from Meiji to postwar avant-garde movements, the research underscores how Japan’s visual culture simultaneously preserved traditional sensibilities and generated new aesthetic languages in response to global and domestic pressures.
Ultimately, this article argues that Japanese modernity constitutes a distinct visual and cultural system, characterized by its ability to engage in a productive dialogue with external influences without losing its indigenous philosophical grounding. It calls for a reassessment of non-Western modernities not as reactive formations, but as active and original contributions to global art history.
Thus, the modernity articulated in Japanese art emerges as a multilayered narrative of cultural resilience, aesthetic hybridity, and political subtlety—offering an alternative vision of what it means to be modern in a non-Western context.

Keywords

Japanese modernity , aesthetic nationalism , silent resistance , Gutai Group , ma and yūgen.

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