美術館有收藏、展覽等基本共同的義務性工作，然而，理論上每個美術館成立的過程、目的不同，而影響其收藏、展覽等方式，因爲收藏、展覽等特色必會受創辦人、經營者、蒐購者的規劃方針。此文章選擇日本 MOA 美術館之原始創辦人及蒐購者岡田茂吉（1882-1955）爲個案硏究題目，描述他的生活史中的精神狀態、整理他作爲新興宗教教主時之宗教理念、分析實踐其理念時的對日本美術的觀念。雖然，美術館構築之問題只是他企劃理想世界之一部分，他在相信以「美」可改善人類情操之信仰下，只選擇內含心靈之珍品作品爲大眾之視覺感化工具，而也與佛教、基督教等宗教美術館不同，不以偶像、傳說、崇拜物等象徵作爲蒐購對象，或展覽之主要展品。筆者希望從他的信仰之中心思想初步窺視他對日本爲主的東洋美術的背後觀念的累積及其發展，蒐購美術品之價値及蒐購方向，瞭解宗教團體的蒐購美術品的意義。
岡田茂吉，MOA 美術館，蒐藏家
The foundation and purpose of museums differ, as results, their methods of acquisitions, exhibitions and other activities differ because of the different management styles of founders, managers, acquisitors (or collectors). This paper takes Okada Mokichi (1882-1955), the original founder of MOA Museum, as an example, describing the spiritual condition in his life history, classifying the new religious dogma he leads, and analyzing the concept of Japanese art he wanted to pursue or establish. Even though, the establishment of the museum was only the one of his plans creating miniature utopian world, under the idea of "aesthetic" may cultivate moral sentiments, he tried to select art objects which can meet this purpose; however, these objects do not includes idols or tales which Buddhism or Christianity emphasize. The author tries to view the background and accumulated concept of Japanese art as the center of Oriental art by Okada, and see how he engaged collection development work.
Mokichi Okada, MOA Museum, collector
