中日官方各自組成的世界博覽會參展團於1933 到34 年間又在美國芝加哥舉行的世界博覽會中同場較勁了。這次的展覽主題雖然以科學為主，但是中國和日本皆在外國館(village)中設有展示中心，分別展出本國的文化、藝術、工業特色，同時也不斷舉行活動，招攬訪客參觀。此時中日已因為偽滿洲國一事交惡，日本也暴露其侵華之野心，在國際宣傳上更以「東方藝術主人翁」之名來發揚日本藝術。中日兩國最後選擇不在芝加哥世界博覽會的展場中缺席，使得世博會成為中日文化再度競賽的場地，參訪者也能夠同時品評兩國的藝術品。本計畫從兩國參展的準備、展場中藝術品的選件布置、當地報紙雜誌的報導和觀眾的感言等資料來分析中日兩國政府對此次參展的態度及提倡本國藝術的結果。 ; Officially organized world’s fair delegations from China and Japan once again competed against each other in the same spot at Chicago’s Century of Progress Exposition of 1933-1934. Although this exhibition was mainly devoted to science, China and Japan both set up display centers among the foreign “villages”that separately presented their cultures, art, and distinctive industries. Meanwhile, both held a constant stream of activities that guests were encouraged to attend. At this time, China and Japan were already in open hostility over Manchuria, and Japan had revealed its ambition to invade China. In its international propaganda, it used the phrase “The leader in Oriental art”to promote its art. China and Japan decided in the end that neither wanted to be the missing party in the Chicago exhibition, so that the exposition became another arena of competition. Visitors could thus view and appreciate the two countries’artworks at the same time. For this study, therefore, I plan to examine materials on the two counties’preparations for the exposition, the selection and layout of the displayed artworks, reports of local newspapers and magazines, and viewer responses in order to analyze the Chinese and Japanese governments’attitudes toward participating in the exposition and the results of their respective promotions of art. ; 研究期間 9708 ~ 9807
