本文旨在研究彥坂尚嘉（1946-）的《地板事件》系列作品。討論作品的形成和對「日本戰後藝術的原創性」質疑觀點之間的對應關係。本研究分為三個重點，第一個重點聚焦於從《地板事件》的誕生背景中引領出千葉成夫和椹木野衣對於日本戰後美術原創性的看法，第二個重點探討《地板事件》的多樣性以及「反覆與變容」的作用，第三個重點回溯《地板事件》的啟發背景以了解當時日本藝術中歐美思潮所帶來的影響性。本研究提出如下看法，彥坂尚嘉的作品呈現出日本當代藝術混血的特質，以及他的螺旋運動，具有對抗日本戰後藝術原創性質疑的可能性。

The purpose of this study is to investigate “Floor Event”, a series of artwork by HIKOSAKA Naoyoshi, examine its beginning, as well as provide a counterargument to the lack of “originality in post-war Japanese art”. There are three main points to this study. Firstly, to focus on the historical background leading to CHIBA Shigeo and SAWARAGI Noi’s views that there is no originality in post-war Japanese art. Secondly, to study the diversity of “Floor Event” and the effect of “repetitions and variations”. And thirdly, to review the historical context leading to the inception of “Floor Event” so that we can understand European and American influence on Japanese contemporary art. This study maintains that HIKOSAKA Naoyoshi’s artwork demonstrated the hybrid characteristics of Japanese contemporary art, and his spiral movement, both of which showed originality in post-war Japanese art.