|摘要: ||《日本美術》（L’Art Japonais）一書於1883年出版，作者為法國藝評家Louis Gonse（1846-1921）。此書共有兩冊，經歷多次再版，在1891年有英文譯本問世。內容按照媒材分類書寫，包含了〈繪畫〉、〈建築〉、〈雕塑〉、〈漆器〉、〈織品〉等主題，並附有千幅以上的圖版，為西方第一本日本美術史書。此書出版的背景為西方「日本主義」（Japonisme）盛行的時期，此時期最受關注的為浮世繪與印象派間的關聯，而《日本美術》也明顯表明了Louis Gonse對於浮世繪的喜愛。不過，除此之外，《日本美術》尚提供了此時期法國人觀看日本美術的其他視角及方式。|
十九世紀末的歐洲人普遍對日本繪畫所知甚少，且評價不高。《日本美術》中的〈繪畫〉章節首次詳盡的記述日本繪畫史，並正視日本繪畫，其中一些鑑賞日本繪畫的觀點甚至反過來影響了日本人。本文第一章將針對作者Louis Gonse生平進行普查，並調查《日本美術》出版前十年間的相關主題著作，理解此時期西方人對日本美術的普遍認識。第二章則進一步剖析〈繪畫〉章節的內容，將分別針對書中的浮世繪、狩野派及琳派部分進行討論，理解Gonse對上述三種類別藝術的認識，以及他的書寫及鑑賞方式。第三章則將解析〈繪畫〉章節所使用的插圖，追溯書中插圖的圖像來源以及使用方式。透過文字及圖像兩方面的分析，還原十九世紀末法國人眼中的日本繪畫史，亦期望釐清Louis Gonse書寫《日本美術》時的限制與貢獻。
;L’Art Japonais was published in two volumes in 1883, by a French art critic, Louis Gonse (1846-1921). In 1891, this book was translated into English and published in the United States. Thereafter, it was re-edited and reprinted for several times. The chapters of L’Art Japonais are arranged by various types of art mediums, including “Painting,” “Architecture,” “Sculpture,” “Lacquer,” “Tissues,” etc. With more than one thousand of illustrations, it was regarded as the first book about Japanese art history available in the West. L’Art Japonais was written during the phenomenon known as Japonisme. Among many beloved Japanese art types at the time, the most popular was Ukiyo-e, which was revealed to be Gonse’s obsession. In addition, different ways of seeing Japanese art were observed in the book along with the revelation of multiple resources related to art in Japan that were previously unknown.
In the late nineteenth-century Europe, Japanese painting attracted minimal recognitions and interests. Gonse brought attention to the value of Japanese painting, and depicted a more diverse and comprehensive history of it. It was the first of its kind in scale and in content. Some of his evaluations were subsequently adopted by the Japanese. This thesis mainly focuses on the “Painting” chapter in L’Art Japoanis. The first chapter outlines the career of Louis Gonse and investigates other publications of the same genre between 1873 to 1883. Its intention is to explore the general understanding of Japanese art in the west at that time. The second chapter addresses the contents of the “Painting” chapter, including the parts of “Ukioy-e,” “Kano school” and “Rin school,” and analyzes the way Gonse appreciated and wrote about Japanese painting. The last chapter examines the illustrations in the “Painting” chapter and investigates the sources of the images as well as the text-image relations. Through the analysis of texts and images, this thesis attempts to recover the history of Japanese painting as it was understood by the late nineteenth-century French, and to comprehend Gonse’s contributions and the limitations he faced at the time.