@article{oai:nichibun.repo.nii.ac.jp:00000309,
 author = {INAGA, Shigemi},
 journal = {Nichibunken Japan review : bulletin of the International Research Center for Japanese Studies},
 month = {Jan},
 note = {Théodore Dures (1838-1927), French critis of Manet and the Impressionist painters presumably played a certain role by inspiring in Van Gogh the image of Japan as an ideal plase for artists. In his writings Duret repeatedly insisted on the Ukiyo-e print's fidelity in its representation of Japanese nature which, according to him, had some climatic affinities with the Midi in France. It seems as if Van Gogh tried to confirm Duret's declarations by identifying himself in Arles with an idealized "Japanese" artist.
Duret published his biography of Van Gogh in 1916, which was adapted into Japanese and published in Japan by Kuroda Jûtarô　(1887-1970) in 1921. Kuroda's adaptation wa, in turn, readapted into Chinese by Feng Zikai (1898-1975).By comparing these three biographies of Van Gogh, I try to trace the transformation of the Van Gpgh's image in modern East Asian cultures. The impressionistic explanation of Van Gogh proposed by Duret was modified by Kuroda, and the "madness" of the painter, rather negatively apprehended by European critics, was re-interpreted by Japanese young artists and writers as something positive and directly related to the extraordinary creativity of Van Gogh. In the Chinese adaptation, the detachment of the artist from worldly matters or successes was still more exaggerated so as to make van Gpgh quite similar to the ideal archetype of the Oriental hermit-like artist. Thanks to his "madness", now justified by referring to Oriental tradition, Van Gogh was declared to be an "Oriental painter" by Feng Zikai.
Here we see characteristics in the receotion of Van Gogh in East Asia. Fiestly, his "madness" is positively valued as an indispensable element to a creative artist. Secondly, this attitude of understanding Van Gogh in reference to Oriental tradition was also connected eith the  rehabilitation of Oriental values in the 30s. An outcome of this tendency was an ethnocentric declaration of Asian superiority to European aesthetics, which Feng Zikai was going to propagate from 1930 onward.},
 pages = {93--107},
 title = {Theodore Duret, Kuroda Jutaro et Feng Zikai : Biographie de van Gogh et sa repercussion en Asie de l'Est},
 volume = {10},
 year = {1998}
}