活躍於十九世紀末、二十世紀初的美國人費諾羅沙（Ernest Francisco Fenollosa, 1853-1908），在東西美術交流史上，扮演關鍵的角色。他於西潮風行的明治時代（1868-1912），受聘至東京帝國大學教授哲學及經濟學；至日本之後，卻對東亞的美術產生極大的興趣。費氏晚年著作Epochs in Chinese and Japanese Art一書，對於東亞及西方世界皆有相當重要的影響力。 Epochs 一書有三章處理江戶美術，其中兩章標為「庶民美術」。文中，他結合了社會史、文化史資料，強調江戶畫家具有科學精神、重視視覺經驗、反映現世生活。他並將江戶美術與西方市民美術並稱。費諾羅沙之觀點，對之後的美術史書寫影響甚鉅。直至今日，庶民（市民）美術仍被視為江戶文化之主調。然而，今日學界的研究成果，卻顯示出江戶美術有著盤根錯節的複雜意象，未必可將庶民品味定為主流。本研究將探索費諾羅沙論述之問題點，如贊助者或畫家身份判定錯誤、對畫作主題象徵意義的認識不足、偏取畫家某類作品以致取樣不均等等；並進一步思索江戶的庶民品味與西方市民美術之差異。 Ernest Francisco Fenollosa（1853-1908）, was a key person in the cultural exchange between the East and the West. He was among the few Western scholars to be invited to teach in the Meiji period (1868-1912) Japan. Although coming as a professor majoring in philosophy and sociology, he developed strong interest in traditional Chinese and Japanese art. The book that he wrote in his later years, Epochs in Chinese and Japanese Art, has been influential in both the East and the West world. There are three chapters focusing on the Edo-period art in Epochs, with two entitled “plebeian art.” In these chapters, Fenollosa emphasizes Edo painters’ experimental attitude and interest in the contemporary life. He calls Edo art “civic art.” Fenollosa’s argument has been influential. Even today, people still consider “civic art” the main stream of the Edo culture. However, current studies show that Edo art was much more complicated than what Fenollosa depicted. In this study, I plan to probe into the problems in Fenollosa’s argument, including his misassumption of the patrons’ and painters’ social statuses, his misunderstanding about the themes of paintings, and his bias in choosing specific types of painting. Furthermore, I will discuss the issue how plebeian art of the Edo period different from the civic art of the Western world. 研究期間：10008 ~ 10107
