Nait6 Democracy: Taish6
Nationalism, and East, The
1 Painting Chinese of History Konan's
Wong Yuen Aida
University Columbia
degree areeach
Asia of cultures diverse the fact, while to historical
In some
until modem interactions), there long products cultural of is, (that
the multicultural was,
defensive
identity.
Even
Asian shared of them
consciousness
times, a as among
a
no
centuries,
Pan-
twentieth nineteenth and in the West from the reaction
to
pressures
instrumentally and nationalism adjunct modem mostly been has Asianism
to
people's cultural
Asian anything constituting like
it, rather than subservient to an
bedrock.
2 Bary de Theodore Wm.
East" of"the
centuries, the early twentieth nineteenth and concept the late
In as a
identity
Japan. in national
of discussions in theme geopolitical abstraction
recurrent
was.a
designate Yellow Sea the •1• • originally by Chinese the ), used (J. TOy6 "The East" to
the
Asia
Japanese
modem the in
context off China's
coast, non- to or east mean
came
identified in
abstraction, it also geopolitical became
general. As world in
Westem
a
anchor desire phenomenon: the produced this factors Several nationalism. to with Japan
nation-building the in entity, tendency subsume
enduring
the cultural nation the
to
to
an
nationalist
Japanese of and the parity
West, with the struggle,
convergence
to assert
3 the observed in be factors aspirations these All imperialist Asia. in with interests Can
scholarship
art.
on
of bodies of the fashioned period late-Meiji scholars Japanese great the
From
one
subjects---Paleolithic artifacts,
textiles, Covering of
broad writing
Eastern art.
array
a
on
writing broadened body painting---this of architecture, sculpture, seals, and manuscripts,
4 study the life. By cultural 1930 and intellectual immeasurably Japanese horizon of the
Japan
China, "Inventing in and Art dissertation, Eastem author's the is taken
from
This
essay
funding possible partially by
University, 1999). made
(Columbia
It 1930s"
1890s
to was
ca. ca.
thank would like author The Foundation. C• Starr Japan and the V. Foundation to the from
de their for Arthur Tiedemann Bary, and Harrist, Theodore comments Robert Wm. Professors E.
drafts of this various
essay.
on
Confucian Rights: Communitarian A 2 Values and Human Bary, Theodore Asian de Wm.
1998). University (Cambridge, Press, Harvard MA: Perspective
Japan's Tanaka,
Tdy6 Japan, Stefan
in 3 study of
of the of the rise For
concept
recent
see
a
1993).
University Press, Califomia (Berkeley:
of Rendering History
Orient: Pasts
into
cr)ffdZS•.
•gf-•
• •c •7•:'•1•,
Tdydgaku hatten ¢) 4 Tomitar6
Aoki See seiritsu
to
sono
no
shoin, 1940), (Tokyo: Studies) Keisetsu •j• •t[ Development of Eastem Foundation and (The pp.
138-97. 3
•1•51•,
• commonly
history (Try6 bijutsu translated the time shi of
Eastern at
art
as
5 major universities Japan. in History") curriculum had entered the of "Oriental Art most
history began nineteenth and study late of the in Japan, the Eastem In century,
art
history mainly of period, subsumed under the during Chinese this formative art
was
Japanese Exemplifying Tenshin's lectures Okakura
this trend Japanese
art
art.
on was
(published bijutsu
Nihon given shi Tokyo Fine School of the late in the
1880s Arts
at
as
6 :• 51• painting • • portrayed repeatedly Chinese 1890). I•I
These lectures in
as a
emphasized importance painting. Tang of the and the Japanese Okakura concomitant
to
extensively
only dynasties products emulated and Song, artistic whose
not two
were
represented amply by periods, the Ashikaga also but revered in the Heian and
were
7
Okakura, painting Chinese vital Japan. collections of
Chinese in For art a was
Japan's national of
component
essence.
prominence painting, in categorically which
literati condemned
He
to
genre rose a
''8
Song. regarded Tang Ming, periods shadows of the and and he "mere the Yuan
two
as
Imperial Tokyo Visiting Fenollosa; Echoing
Professor his American Ernest
at
mentor
9
University, painting's and colors indifference volume criticized Okakura literati
to
as
genuine prejudice than signs of formal criticism weakness---a based
Western
a more on
1° perhaps understanding principles. unstated but aesthetic of Chinese
An
even more
painting paucity determining the Okakura's in of Chinese literati factor intolerance
was
representative for collections. became Japanese works of this
in of It
genre common
painting Meiji history period (1868-1912) Chinese of in the scholars the
to treat
as
age-old background painting, judgments its value based
Japanese and make to to
upon
on
elites, temple collections of the feudal Japan; collections ancient collections in
or
families, including shogunal of and aristocratic had immense value for the those the old
relationship only they long
testimonies Japanese. of and cultural Not
prosperous are a
they Japan, which of between China and also constitute visual archive centuries
upon
a
iconographic inspiration. formal, technical, aesthetic, Japanese artists have drawn for and
archive, of the national of Japan the revered in in This
part movement,
era essence was as
history. native
period approaches writing (1912-1926), arrival of Taish6 With the the the
to
history painting changes. only began underwent notable of Chinese did scholars Not to
of history (1930-1931) Japanese offered included list of The Book Art the Year in
art
a courses
History leading Courses Oriental academies. different of Art indicated of
aspects part
were on as
Imperial University, Tokyo Imperial University, Trhoku Imperial Seoul the curricula of
University, University, Tokyo Arts; and School Fine Committee of Waseda the of National
see
Cooperation, (English
edition) of (July Japan 1931): Japanese Intellectual The Year Book Art
on
129-31.
60kakura
• :• • ( •g(e •_ (Kakuzr) • [• ,L• ,L• 5• • Tenshin Okala•ra Tenshin zensh• ---
(Complete (Tokyo: Tenshin) Heibonsha, Okakura Works of 1980-82), vol. 4.
7
"Imaging History: history nationalism, Tanaka, Okakura's discussion of and Stefan For
art
a see
Inscribing of (February Nation," Belief the
1994): in Studies The Journal Asian 53.1 24-44.
80kakura
bijutsu Tenshin, (History zenshfi, Japanese Okakura art), Nihon of shi in Tenshin 4:99.
9 work, Chisolm, Fenollosa's life and Fenollosa: The Lawrence For East and Far W.
see
(New University 1963). Culture Haven and Press, London: Yale American
•j•, • 10
general "Gangcang history, Jing Chinese of Okakura's
He For
assessment
art
a see
;• • ]• renshi--guanyu Zhongguo tezheng" • Zhongguo ,[•,
meishu meishu Tianxin dui de de
d? d? •J•, • •k• • [] • •j:l• [] • • • • fftj understanding (Okakura of Tenshin's Chinese
art
• • 5[• •
special art), (1995): and the character of Chinese 76-87. Meishu shilun 2 on 4
painting history
they Chinese collections; tried
beyond also Japanese look
to art
as a see
painting history.
merely appendage fight, Japanese and
its field in
to
not an own
• •i• p• • (1866-1934) Shina development Representative Nait6 of this Konan's
was
5•. given 5•. • • • the in Painting), (History of lectures series kaiga of Chinese shi
a
University.11
collections
Imperial older lectures, Kyoto Nait6 shunned these
In 1920s
at
f•),
• • (shin fresh importation" hakusai
of what became known the favor in "new
a
as
period. Unlike the paintings began Japan Taish6 in Chinese the that of
to enter corpus
paintings
the large attributed body of collections, this contained number of works old to
a
notable literati. China, of whom canonical valued in
masters most many were
perceived
probably Meiji departure of Chinese Nait6's discourse the from art
was
Today Japanese by historians. Japanese irreverent scandalous fellow
art some as or even
approach. by of Nait6's historians irritated
his still be In
assessment
recent art to
a seem
-•
• 1"1• f•j( give efforts of his History Painting, Hironobu "In Chinese Kohara to
wrote:
completely ignored primacy newly imported paintings, the Song Nait6 and the Yuan to
previously illustrated in entered Japan is works that had Japan. collections of the in None
of [his tradition caused revise History Painting]. Chinese the end his In attempt
to
an
collecting understanding
painting history. slightest of the imbalance in had the He
not
''1• preferences Japan. in
Paintingcontains of collections, History Chinese Besides exclusion old its of the
genuine today's paintings by connoisseurs. Kohara that considered
not
many are
meaning.
of Painting time, all its History almost lost Chinese has "In comments:
our
of History Painting. This book Chinese This has back read Nait6's author
not
to
gone
reputation scholarly brought posterity of that nutrients with the has
commensurate to
not
of Painting History Chinese illustrations in
scholar. The is that the great
are a reason
Although pearls'; Nait6 mixture of 'fish and half of them fake.
eyes was an are
completely incompetent outstanding T6ydshi, in scholar of that he
say was one can
''13 detecting forgeries. of be censorious Nait6's Kohara is the first
not to
person
l•l•, • they
• Shunjir6 According biographers, •Si selections. of Nait6's Aoe
to
one
cheap impalatable compared by dumplings
rice, items have been other critics and fried to
14 the connoisseur. to true
integrity undoubtedly of the of of is crucial value visual documents The
a measure
history,
history, by only work of it is the but Western In
art
art a no means measure.
documentary long judged their visual and that have been flawed in
contents
texts
some as
of of scholarly example, objects History the remain Winckelmann's of Art interest. For
(1764) of Architects, Antiquity Painters, and the Excellent Italian Vasari's Lives Most
claims, Sculptors replete empirical (1550; 1568), inaccuracies and false both and with
pkJ i•)]•(The Complete n incorporated zensh• lectures These later into
Nait6 Konan
was
I• • -• • Kiichir6 Nait6 Nait6 Kanda Konan), Works of eds. Kenkiehi and
(Tokyo: shob6, 1973), Chikuma vol. 13.
12 [] shoucang yanjiu" Zhongguo Hironobu, Kohara hua "Riben de
yu
•:
"• • (January painting Japan), Duo)run (The 1994), collection and studies of Chinese in 40
p.
140.
Ibid.,
•3 142.
se•za:
Shunjir6, Afiateki shdga• Ry• • Aoe Nait6 Konan
no no
• • (Tokyo: (The Career) • f• Dragon Nait6 Constellation: Konan's Asian Asahi 7"
shinbunsha, 1966), 326. p. 5
15
completely something captivate for artifacts. dismiss Nait6 scholars critical still To
as
cultural subjective connoisseurship of social and close examination the
preempts
as as
underlying "go back read" his either does if
his work. circumstances In to art
case, one
immediately unmindful of the risk his in history, will that Nait6 it be
apparent not
was
eonnoisseurship forgeries problems in Afferall, in Chinese decisions. art
common
were
forgeries accepted intrinsic the Chinese Nait6's time. Many Japanese scholars
to
as
premium copying painting tradition, centuries where artists have for
tradition put
a on a
masters) 6 from old
sinology giant (figure 1) &the twentieth Japanese in Nait6
Konan century.
was a
subject study prolific scholarship itself. his of immense has been the But His eclectic and
adequately by scholars. What caused take him history examined been has to art never
decidedly independent of works? Given the attitude his choice in such art
very
a
history path took, Japanese nationalism? And Nait6 did his relate different how art to
vision Chinese importantly, fit into his of in did the of the what East concept
most ways
questions.
this painting? these aim of offer
is the
It to to essay answers some
NaitO Chinese and Art
Imperial University began teaching in he had worked 1907, Kyoto
Before Nait6
at
Osaka
them, journals--among publicist the asahi of and
for number
newspapers as a a
•i• •• together N• J• editor, • •i • with Takahashi shinbun Kenz6 • Its ---
• •-
journal founders of the nationalist Tenshin and Taki Seiichi the Okakura
art
were
Osaka
•
[]
(National Flower). assignment asahi write first the Nait6's
Kokka
to at
was
i7
eighth
capital of Japan of the Nara, in several articles the and culture century. art on
stunning deal its and architecture that is renowned for Buddhist
Nara great to
art
owe a
Tang-dynasty legacy of China. the
disposed thinking seriously Working for Takahashi about Chinese Nait6 art,
to
theory published Tang-dynasty painting this he article in Kokka. and in In 1902
an on
painting article, listed of and treatises that had best-known books he the
some on
is project China, appeared different collectanea, This and traced their in to provenance
significance. &textual than visual the decade Nait6 write In
next to was more was more
image-oriented variety journals, the middle of for but it until the
1910s
not essays was a
•5 example, Vasari, Ports, for Alex Flesh and the Ideal: Winckelmann Winckelmann On and
see
University Origins of (New 1994); Press, Patricia History and London: Yale and the Art Haven
Giorgio University Rubin, History (New Press, and London: Yale and Lee Art Haven Vasari:
1995).
•{•g • • •
•]
)•, Shigeru • gisaku -V See "Min-Shin tsuite" 16 •_ Matsushita ni
CO •
•
ga no
•g. ]Jg •: • (March forgeries Ming Qing paintings), bijutsu (On 1923):
8-9;
Shina in 1.7
and
"-C
•
• •J[•-•" • :• • • • [] ti• •')•, kenkyfi koshoga konnan" Takahashi Yoshisaku "Shina
cO
no
•r •/• calligraphy), Shoga (The studying painting kott6 difficulties ancient Chinese and zasshi in
=-•:•--=•m•e•w•, (November 1916): 32-34. 100
(Cambridge (1866-1934) Fogel, Sinology: of a• See Joshua Politics and The Case Nait6 Konan
University, 1984), Studies, and London: Council Asian Harvard 62. East
p.
on
•-• • • • J)), painting theories), Nait6 garon" (Pre-Tang Konan, '"r6 izen •s Kokka 141 cO
no
kaiga reprinted shi, (February 1902), Shina 327-37. in pp. 6
Fig. photograph; (1866-1934), Nait6 bijutsu T6y6 (May Konan 1. 1935), 117. p.
analysis.
demonstrating maturity began His also broadened
visual in that he to
range a
bronzes.•9
jade, calligraphy, epigraphy, architecture, and
cover
major growth extensive network catalyst historian his in Nait6's
A
art as was an
history professor highly Asian close and of cultured friends. of Nait6's associate East
at
•t "• painter [• -_•, Imperial University, literati Tomioka the the of Kyoto Kenz6
was son
•j• •, •:. • "• • fl• prime Tsuyoshi minister Japan of Tessa! future Tomioka Inukai
qh ]f• • good painting, friend. Nakamura of Chinese his and connoisseur Fusetsu
was
•-, Sh6ffikai, independent calligraphy authored the first of Nait6's club co-founder
•° Japan--Shina (1913) (a painting kaiga different from history shi work in of Chinese
• [•[ •__,, loyalist, Zhenyu Qing antiquarian had Nait6's). and diehard famous Luo A
19191
:•
Kyoto from had interaction with Nait6 while exile in in Luo close 1911
to vast
a
paintings. calligraphy, bronzes, books, This collection and collection of ancient
was rare
region. sinophiles Kansai Nait6 the in for and of his fellow
eye-opener many an
Osaka
• •, journals published
writings Geibun Nait6's 19 included The and that
art
newspapers
5•. • • •J• •)• •. ;t• J• Shinagaku • •] •]• • )k• • Shirin Rekishi chiri [3 mainichi shinbun
to
{•tX•:•. •, J57•0, writings, including Bukky6 bijutsu Nait6's of
of Taiy6 list and For
many
a
bibliography 1934): also, Shinagaku (July the Joshua articles, in 7-27; art-related his 7.3
see
Sinology. Fogel's
Politics and
• • • • ]j• • •, •,• )• kaiga q• • Kojika • Seiun/J• shi Shina •o and Nakamura Fusetsu
trajectory Gen6sha, (Tokyo: of 1913). Painting) book the (History This of Chinese traces
adopts sage-kings Qing painting the three-fold Dynasty. the It from the time of the Chinese
to
-•. ), _• historiography, dividing history (j6sei Enlightenment Ancient Medieval into scheme of
expression • -• • periods. • is (lansei ) This scheme (chasei of the ), and Modem
an
destiny, beings optimism ability and make Enlightenment of human dictate their the in to to
own
"progress progressive, better, future. This view" has continuous strides towards
ever more an
significant identity inhospitable by today forms of certain criticized scholars been
to
some as
from religion Prasenjit Rescuing History class; Duara, the and Nation formation such
as see
projects Chicago 1995). University vision of unified Press, (Chicago of and London: The It
a a
through history goal time and For this incremental
and consistent
nation with
space. across a an
[• • Hengke
positive Chinese. Chen elicited from the Nakamura's book
responses reason, even
'• Beijing Academy;
history (1876-1923) Art of his lectures
Ma used it the basis
at
art
see as
+-[• • •1• • • •ff, pingyao" )• I-: shangbanye shiji Zhongguo hua zhushu "Ershi Hongzeng
d• •:•-• ]•[ ]• [] • publications painting major from
the first half of the twentieth (On Chinese
on
d• •:•Zhongguo • [] 1993): huihua shi 7; century), Tianshou's (June Meishu shilun Pan 306
51• • m-•
produced (History Painting) of educational series for the (1926), of Chinese
part
an as
of this Shanghai Academy verbatim of book. Arts,
is translation almost of Fine parts
many a
preface, major scholarly his Zhongguo the institute. he In Pan's huihua contribution shi to
was
divulge book, acknowledged the of these debts. The but does his debts Nakamura's extent not to
fascinating
subject, scholarship that reception China Japanese itself of historical is in
art one a
study. merits
separate
a
• • • •
likely him Gioro of Aisin made attachment •1 the unfortunate house Luo's target
to
a
(•mni
K6zui, Nait6, August, brewing and revolutionary in violence. When the revolution of
was
accepted asylum China, urged their Kyoto. repeatedly and offered him him in flee Luo others
to
disciple, family Wang Kyoto his famous October with his and offer arrived and in in 1911
•. [] meeting attending speak Japanese, for friends and q:_ did and Guowei Luo except not
enjoying scholarship, gatherings, seclusion the devoted his of occasional social time Luo
most
to
• Temple. _-IZ hilly precinct J6do picturesque See Chen and of located in his in house the
new
]]•, • • •1• •. (Manchuria: • Zhenyu) (Biography Bangzhi Zhenyu Man-Ri zhuan of Luo Luo
xiehui, 1943): wenhua 31-33. 8
sinologist and development
especially helpful Naitr's
Luo
to as a was
• ')•,
manuscripts Dunhuang from introduced Nait6 in 1909 connoisseur. He to a
Asia. Central China and Buddhist It of cave-chambers the border between site famous
on
discovery
The early fourth and artifacts that dated from the contained
century.
art as as
by explorations subsequent by Spanish geographer and the the in site of this 1870s
a
archaeological stunned the Paul around of had Stein and Pelliot the the Aurel century turn
and view Japanese the first communities
around the world. Nait6 to
among was
of field "big the in Dunhuang, whirlwind" stirred artifacts and work his from document
a
22 reputation catapulted of his pioneer the history Kyoto. Naitr's in work Asian East
place academia.
level, in University his department and assured
Kyoto
to at own new a
0tani
• fl• fl•; • (1876-1948) from returned archaeological of Krzui When the
team
of department entrusted with the task and his 1910, Central Asia Nait6 in
were
23 analyzing interpreting and the finds.
materials, Dunhuang the 1911 after started work the Nait6
Two
years on
Qing officials post-revolution former erupted turmoil Revolution China. The in put
many
the result forcing straits, collections. The sell their and elites financial them in art to
was
found works largest dispersal private and China had
collections of that
many seen,
ever
China, works in people limited time, Japan in had Japan. their the At
to
to exposure way
Zhenyu having Naitr, apprehensive buying known Luo and collectors about them.
were
him, intimately, having from deal about Chinese doubtless learned and great
art
a
of explaining suddenly Japan. in As himself the Chinese works collectors found
to many
indispensable important the milieu, Nait6 all the sellers of became
Luo's part more were
art-buying in this culture.
new
dealers, frequently collectors, them advice
Besides Nait6 also
to among
gave
'[• 3•'•g
family family. Hakubund6 )•, owned the members of the Harada Harada The •
6saka,
largest bookshops for its well-known Japan of the the time. in of It
at
was one
stationery, inventory books, also sold fine rich of Chinese books. Besides the Hakubund6
sinophiles reputation the clientele of made business and crafts. solid and Its art,
selling Japan. in their collections for Hakubund6 natural choice the Chinese who
a were
paintings Chinese would &the number of 1920s, and the 1910s In
an course enormous
himself, through family. Harada often took these the Harada connoisseur No Mr.
pass
deciphering
seals, paintings by quite adept Naitr, the who late had become 1910s
to at
:4
paintings colophons, huge of connoisseurial and other The number he
matters. was saw
history. form his the foundation of art to
• j• 5•:, • • •] h• majiwatta gakusha bunjin J:•, • "Nait6 22 Hibino Takeo tachi" E Konan
ga
• • • • •9 (Scholars associated), • )k Nait6 • #_ 7•c and literati with whom Shoron Konan
•
•
(November 1978):. 13 87.
(•ani
(The expedition by 2• first That the third and last made and his Central Asia. team to
was
Naitr, participants the studies of 1908). other made and Besides notable the in in
1902
two
were
•,• • •j• •'• • 2¢e: I•[g, Krkichi Fumisabur6
Central Asian artifacts included Kano Matsumoto
---
•'•, •, "• dxJl[•, :•m, • 1• Ogawa Takuji • Krsaku Kenz6 Hamada Tomioka Haneda
•,
• professor history Tokyo • Trru for of Except Seiichi. and Taki Taki who at art
was
Hibino, Imperial University, Kyoto Imperial University. "Nait6 See all scholars Konan at
were
bunjin majiwatta gakusha tachi": 87.
ga
J•, • 24 family Gor6 kikigaki: • Takeyoshi "Harada shi the Harada Tsuruta t£t For
see, more on
• • 1•1• •-•] • Chfigoku 1• )•. I• Taishr-Shrwa shoki korekushon seiritsu"
ni •E okeru •
ga
no
• q•
•J • • [] • • • • Gorr: (Verbatim • of Harada The
•y_ 1/• -• •/• notes
• •
periods), Chagoku during Taish6 Shrwa establishment of Chinese collections the and in Min- art 9
guidance
Abe the Nait6's formed under Among collections the
was many
Osaka
25 Art), Municipal which of Fine (now of the Museum Collection
property
so-called collectors--the purchased Chinese mainly
from
works
contained
contemporary
•1•
• • • (1868--1937) 1• Fusajir6 the importation."
Abe The
"new
was owner
•f•, • • manufacturing The collection
T6y6 B6seki President of
cotton company.
a
calligraphy. Among painting them
and comprised hundred
works of
two
was over
•,
• •
_• [] Imperial Shujing
Messenger Copy of Fusheng
Presenting
to
a an a
(701-61)--it also
by Wang Wei Tang believed be the time handscroll the
master to at
was
imperial Song-dynasty
the in had been purported work that the
be
to
once same
in available canonical by other
Wang Wei and Works collection. not masters
many were
portion believed be large works of these Revolution, and
Japan before the 1911
to
was a
• • (1018-79) including and Mi Tong
Fu by literati Wen well-known
masters,
•[• • •-• Mengfu 1307), Gong (1222-ca. Zhao Kai (1051-1107) Song Dynasty; of the
•]--• Zhengming {•(1301-74), (1427-1509), Wen (1254-1322), Shen Zhou
Ni Zan
• •j• I• • (ca. • (1592-1680), Gong Xian I•J and (1470-1559), 1599- 5E Wang Shimin
7• • Fenghan 1704), Dynasties; (c. 1626-after Gao Ming 1689) Zhu of the and Da
Yuan
fi• :•: • -• • • Changshuo (1844- • (1834-1911), •1, (1683-1749), and Wu Pu Hua
26 Republican periods. Qing early 1927) from the and
early wealthy fortunes art--fortunes Japanese twentieth the In spent century on
enterprises that had commercial industrial and of them made the in modern
many
example, B6seki, T6y6 Fusajir6's for China. Abe
in substantial investments
company
:7
largest China the time. in with business Japanese manufacturers of the
at
cotton was one
newly emerged of the
this affluent Some Nait6 arbiter of for this
In
taste group. as an era
guidance Seiichi important included
collectors that followed Nait6's Ueno
more
•, • •j • • Tdky6 ), [] (vice-president, president, shinbun of asahi later turned the
7J• '[•-" •1• banker), IJ-I (president Ogawa Teijir6 of and
Yamamoto
company sugar a
•]• • • •J3 •(anatomist), [•_• • Chikanosuke/J\ Fujii (manager of fiber Zensuke and
a
manufacturing company). good collections literati of works these in number the A were
paintings. refinements of the literati. Nait6 life satisfaction the in took All his It great
writings by interacting reading that, and Chinese with obvious from Chinese him
to was
pictorial
painting predominant of the Chinese connoisseurs, literati the strain was
fine-tuned whose tradition. Nait6 consider himself aesthete
taste to to
came an was as
gentleman-scholar. that of the Chinese
neglected province paintings long heritage been in Chinese of the literati had the
a
sh6guns, temples. aristocrats, collecting Japanese tradition the By of and Buddhist
• q• e? • •J• )• [] [] Ch•goku • 3• hakubutsukan shi hiz6 Shin Tenshin meiga geijutsu
ten:
• • • • • • • Pa•t•g • • Ma•e•ieces (E•ibition M•g of of Cheese •e •d •om
City Ti•j• ffo•o: Ch•a), Qing D•a•ies: e•. Nit- m Treasures •om •e • Museum cat.
•k6 •ikan, 1992). Chfi
Of
produced ca•lo•e colle•ion occasion •5 e•ibition •e of•e •e A
at •o
an museum was on
• • • reproduces Ch•go• •iga si• works; h•&ed zuro• hen decades it •d
ago; one see
Ki•-•shfi • • Camlo•e • Osaka, • Part,g), ffokyo, (Illu•rated of Cheese e•. cat.
1975). sh•b•sha, Nagoya: As•i
•, • • • Shmj6 • • Mochi•ki kore•sh6n naka •ra"
26 Y See "Abe
•
• • •
•
no •
• (May Colle•ion), 1963): • ffrom •e Abe H6shun 1•. 112 h•
• • • • • • •, • • • Ch•go• • • b6•6 •7 See Takamura Naos•e Kindai Nihon •
to
(To,o: Tokyo Universi• Press, 1982). Jap•ese (China •du•) and •e Modem Te•ile 10
trying works, acquiring perhaps themselves the collectors these
apart
set to new were
symbolized
paintings social old elites. Their collections of Chinese from these
new a
beginning challenge Japan's of the feudal
Now force that remnants.
to
power was
sh6guns,
aristocrats, longer symbol the only by Chinese controlled the
art status no was
a
becoming establishment. industrialists and the Buddhist The affluent and merchants were
elite. the
new
newly ascendency the of lectures Nait6 related subtle narrative of the his In
a
"new wealthy importation" copiously reproduced the that had entered the He
sector.
simply importation" wealthy hands of the did collectors. the Nait6's zeal for "new
not
availability passively evolve market. of Chinese with the works the He
greater
was on
raising instrumental Japanese of these works and in the collectors' in
awareness
importation," educating Therefore, about their value. them the "new extent, to some
enthusiasm reflections Nait6's for
of his cultural clout. And shall
see, as were own we
importation" intimately political the tied views. also "new his to was
The Lectures
painting history and delivered his Nait6 Chinese between lectures 1922 1923
on
University. Imperial interdisciplinary sinology Kyoto of of
The the
part
at program as
• Bukky6 bijutsu published journal serially version of written these lectures in the
was
• • • single posthumously (Buddhist later, compiled Art) into
three and
years a
perceived major They presented chronologically (1938). volume be the Nait6 what
to
period painting Qing dynasty, of from pre-Han works Chinese the in the
to more a era
of than taken from the thousand illustrations the "new
Most
two
years. were
=•: •t•-• importation." representing Among these, Tang Dynasty the Daozi Wu
master
Legend eighth Sakyamuni's (act. (figure century) of 2) collection of from Birth the
was
• • Teijir6. painting" (ba#niao ), of "fine-line form of is work Yamamoto It
a a
pictorial
stressing painting rather than This has the "orchid ink outline color shade.
art
or
emphasize tapering gently leaf' brushwork with Wu--the lines that associated the
pliancy accepted Song dynasty, of the brush. Nait6 attributed this work but it the
to as a
Fig. Legend ofSakyamuni's Birth,
Daozi, detail; Attri.
ink 2. Wu 35.7 3338
paper. on x
Osaka
Municipal kaiga fig. shi, of Shina Fine Museum 18. Art. cm 11
days,
those Tang-dynasty In of the pictorial method" of good imitation "the
master.
a
including by
the Wu, temples believed be also
paintings
Japanese
of in number
to
were
Sakyamuni ,•, • •, portrait in of Daitokuji • • • and the landscapes in K6t6in
bearing relation little N[ •h• ,•. later works Nait6 dismissed however, T6fukuji Both,
as
(which
in accord Song is
landscapes Southern K6t6in the
the
dated Wu's
He
to
to art.
:8 portrait T6fukuji the Yuan today) the opinion and general of scholars with the to
routine in collections became discrediting point Japanese old onwards dynasty. this From
narrative.
Nait6's
imported newly
centered
discussion Wang Wei
the
section
the
two
In
upon
on
--• [] (figure 3) the •q- • in after Snow cmd is Rivers Moum'ains first works. The
detail; silk. Snow, after ink (701-61), Mountains Fig. and Wang Wei Rivers Attri. 3:
on
fig. shi, kaiga Family Shina 25. Ogawa Collection. 171.5 28.4
cm. x
of Shujing Copy
Fusheng Presenting Collection, second is Ogawa and the
to
an a
has the lmperial and (figure 4) Collection. Mountains Messenger the Abe in Rivers
same
•:21•,
Ming • :i•: (1555-1636) the in Qichang by Dong handscroll Wang Wei title
seen as a
significant. historically work otherwise dubious connection made this Dynasty, and that
7• •, questioned •, Chengze he the Qing-dynasty Reiterating writer Sun views of the
over-painting prevalence the tell- of
authenticity; drew attention the the he work's
to
as
over-painting, places where there is
date, sign insisted that
"in but tale of late one
no
a
unwavering ''•9 faith the in showed lectures, he invariably Wang these Wei.
In
an see can
suspicious, always able seemed be they he importation"; when looked "new to to
even
redeeming qualities in them. find some
Burlington Landscapes," The K&fin 1130) Tang and the Bamhart, (c. Richard 28 "Li 1050-c. See
Magazine (May 1972): 305-14. 114
Nait6, kaiga shi, •9 Shina 68. p. 12
Imperial Shujing Copy of
Fig. Fusheng Presenting Wei, the
Wang
Attri. 4:
to
an a
Osaka
kaiga shi, Municipal Shina detail; Messenger, of Fina color silk. Museum Art.
on
fig. 26.
f•
•-x• •., describing ofZhang paragraph background Yanyuan devoted Nait6 the
a
something minghuaji did do Tang-dynasty (847 C.E.), he Lidai author of the not survey
mostly concerned with for historians mentioned these lectures. in Nait6
other
any was
painting: explaining Zhang's history accident decision record the of Chinese "It
to was no
important minghuaji. whose Zhang collectors that His had been Lidai
wrote ancestors
prosecution Wuzong's collection survive Emperor did his time. Furthermore under
not to
•" • paintings Huichang reign period C.E.], [841-46 of the of Buddhism in mural the
destroyed. Zhang of famous best he could all mountains wanted record
to
were as as
''3° minghuafi.
writing [Lidai] works; motivation for Nait6 these lost that his
not
was was
confronting personal Zhang, probably the of and cultural crises but he
sort same as
duty Tang-dynasty identified with the writer's of record those works that had he to sense
good the that author's reminder fortune know. This served his reader
to to
as an
a
shapes experiential horizon the stories he tells.
period Dynasties regarded particularly Nait6 crucial The that Five the
next
as was
According during painting (907-60). period him it Chinese ink this that
to
was
•J • (especially, landscapes) maturity. Jing (act. reached its artist tenth The Hao
surpassed stated, ability century), his Wang he Wei likeness of real in the capture
to
landscapes. depict While forms,
Wang schematic tended the and rivers in mountains
to
31 naturalistically. Jing subjects Furthermore, rendered Five- the much
same more
painting Dynasties artists freedom from also attained fine-line of the baimiao method
or
32 Auspicious Nait6, Tang, the and
achievement. Nait6 used
this watershed
to
was, a
•X • • • [] (figure only 5) Clouds and the Abe Collection--'the Mountains in Autumn
Jing Qing] painting [he] record, [early had of
outside listed in the the Hao
two
seen
]•y • •" • •-• •7• •_ Shigutang point. l'mikao However, shuhua illustrate his this to
Ibid., 30 82-83. pp.
Ibid., 31 90.
p.
32 Ibid., 94-95. pp. 13
sevemeenth of the work be
Jing and nothingto painting with Hao do has
to appears a
composition.
loosely old perhaps later, based
century an on or
t• and Clouds Mountains. century), Auspicious Autumn Jing (act. 10 Fig. Attri. Hao 5:
kaiga fig. shi, Shina 29. 14
• landscape important • Jing's Tong the other named student Guan Nait6
as
• j• • theory Northern and period. According Qichang's of the painter Dong of the
to
Nait6, figures School. key Schools, Southern Jing of the both and Guan Southern
were
techniques Schools; wash found he Guan's claimed that straddled the however, Guan
two
j• •,
(act. "Southern tenth Dong School" Yuan similar those of the be
masters
to to
,•,,(aet. • of in century), found the works those century)
and his and tenth
Ju Ran
trees to
• • • ff• (1023-ca. (919767) Cheng Xi and Guo
"Northern Li the School"
masters
33 presumption polarity made the challenged that had doing, of 1085). the he In two
so
Qichang. meaningful Dong for schools
regionalism began Dynasties during that explained Five the Nait6 that it also
was
history. distinct artistic
painting identified three play important role in He
to
an
Plains, Tang, corresponding regional Central Southern of tendencies, character the the
to
Tang Paintings the tradition of the tended follow from Southern Tang and Shu. the
to
• retained dynasty, paintings tradition but inherited the Tang Shu also from strong
a
professional. predominantly regional paintings flavor, He Central Plains and from
were
pioneering of strokes the Dong Tang with credited of the Southern Yuan
to texture
use
attempted mountains--"nothing, had been (structure) like that delineate the of "bone"
-• • ''34 (act Cheng tenth- special paid homage and Li Kuan before him. Nait6 Fan
to
hardly
Plains, whose works centuries) eleventh &the canonical Central two masters were
Japanese known the until the twentieth century.
to
disapproved professionals, considered inferior the he Nait6 of the whom
to
argued
historiography. the long literati, that tradition Chinese in bias that has He
art
a a
(960-1127), portraiture dynasty and general quality Song Northern of declined the in
professionals. by of this decline of the the attributed this the control Because
to genre
figure Dynasties painting assumption, of the Five the remarkable achievements in
were
professional prominent given his mention of such short shrift lectures. made in
He
no
d? • • • J-• Hongzhong (act. portraitists Wenju century) (act. tenth and Gu Zhou
as
landseapists literati, century), Wang Shen tenth and focused instead the such the
as on
• •" • • centuries), Lingrang (act. century), eleventh-twelfth (act. and eleventh Zhao
pictures painter in Tong. Many attributed have been the bamboo bamboo Wen Wen
to
• [J_l Higashiyama period (fifteenth century), of collections the but Japanese since
none
Gonglin genuine. special praise them, claimed, Nait6 Li Nait6 could be to
gave
"skillfully painted (1049-1106), abbreviated for the with the that his horses
reason were
''•5 characteristic the brush method of literati.
painting only period history Nait6 in which found the old The Chinese for
importation Song. evidential value the Southem conceded that have actual He
to
was
paintings period fifteenth-century shogunal catalogue from this recorded the in
art
many
-&• :•5 •g• • ]y: by • • genuine say• Kundaikan ch6ki canonical
works be
masters
to
• •.& •J ,• • Songnian centuries), (act. (act. such Liu twelfth-thirteenth Yuan Ma
as
•--• centuries), centuries), (act. Hanchen twelfth-thirteenth Xia Gui twelfth-thirteenth Su
• ,.• :• [• • centuries). (act. (act. century), twelfth-thirteenth twelfth and Li Di He
• • recluse-painters (act. Qi thirteenth that several and added monk- such Mu
as
• • ,•. century), •] (1097-1169), •, century), (act. Yang Jian thirteenth Buzhi and Yu
paintings given praise Japan, than had been survived whose have deserved in
to more
33 Ibid., 90. p.
Ibid., 3• 114. p.
Ibid., 35 128. p. 15
paintings does 36 Song body of Southern sympathy for this his Yet, China. not in them
considered Nait6 paintings collections. inferiority in old of theory about the his
negate
his lectures: in stated period decline; thus, he generally in Song
Southem the as a
reign of Dynasties and the Five the painting excellence between attained Chinese
of the [the last Huizong preceded Emperor Shenzong, who Emperor next to
emperor
during
[Emperor made Although significant achievements SOng].
Northem
were
of professional climbed, the artists Academy of Huizong's] and the number Xuanhe age
Song situation the Southem passed. of the already the end Towards had talents
bring introduced methods thereafter, fresh several and the Yuan to worsened In
were
that
One strides. small they than resulted in renaissance,
but about
may say
no more
a
Unfortunately, the Song.
the Northem painting zenith in reached its
Chinese
37 beginning. Japan from the period eluded paintings had opportunity from that view to
paintings Chinese
again that the best his readers reminded Nait6 not to
were
once
might collections be the best although collections, these and Japanese found old in be
period the that they
from acquired
paintings
the in had Japan Chinese past,
on was a came
battering from another painters received here artistically Professional inferior. whole yet
responsible for held talent, them also suggested they but only lacked that Nait6; he
not
painting.
Chinese perceived decline of irrevocable be what he
to an
painting in his professional continued literati celebration of Nait6's treatment
over
period, the
followed opposing this acknowledged trends in of the Yuan. He
two
one
before harked back painting, (court) and the other Song academic tradition of Southern to
included glossed trend that expected, the first he Song.
could be Southern
As the
over
• N1 (act. • thirteenth- •, • centuries) Hui and (act. by fourteenth Yah works Sun Junze
"mostly but represented by collections Japanese centuries), old well both fourteenth
''38 Mengfu so-called by trend, and the Zhao headed second China. The unheard of in
significant by lauded the Nait6.
He considered Yuan,
of the
Late
Four Masters
more was
•
,• ) (g'uyi the "antique and flavor" ability and the of Zhao Four Masters
at
capture to
maintained, paintings, individuality. the he Zhao's of retain In time
measure some same
specified (here Song Nait6 Tang and the derived from the methods and ink brush
were
(jiko "personal they character" Song), carried artist's also the
and
Northern
yet
no
39 •,6r)•:fl/•_•). • tokushoku
• • (Huang Gongwang According Nait6, of the the Yuan
Masters Late Four
to
:•:,•, • [1280-1354]) • [d. 1385], Zhen qz and [1269-1354], Wang Meng Zan, Wu Ni
they painting history; the tradition of the centripetal revived played in role Chinese
a
Ran) Wei, (especially styles Dong and Dynasties of Wang the Yuan Ju and the Five Tang
Ming Qing follow. The of and the established that artists models the
in and
to
sense were
periods, relationships leitmotif his in continuity, organic different between
of
was a
of
idea holistic history accord with the that would tried narrative. He
to create a a
importation" representing all the in "new works the The Four
culture. Masters
text
were
• • ::•-_•, Seiichi, Nagao and figures Saiz6 of Sait6 collections such Ueno from the
as
Shanghai Press). •= •j Lid :• (prominent Commercial the connoisseur and editor Uzan at
"extremely exalting carefree highest praise their his for the Masters, reserved Four Nait6
Ibid., 36 160.
p.
Ibid. 37
Ibid., 38 p. 171.
Ibid., 39 183. p. 16
• •s• •a, • • (kiwamete spirit" • tanpaku •. •, kansan insouciant •b and kibun -C
na na
•), attributes regime that repressive made heroes under the of them and autocratic the
4° Mongols.
His
early lectures period Ming with concluded the Dynasty, of revival for
court a
painting.
explain style Because he unable literati artists the of such
apparent
court to
was
•(1362-1416) specialists • • bamboo (1388-1470), the Chang q:: Wang and Xia Fu
as
simply played he
professional identity styles, down their and focused instead their
on
linked which he Zhengming. literati the and later also such Four Masters Wen He to
as
opportunity this took introduce collections, works from other which
to
new
uncharacteristically • paintings •" by included (1399-1435) Emperor Xuanzong
court
• •1• (1388-1462). and preferred Dai Jin painting overall he considered literati But and
•a,), lacking paintings • such
spirit" (yiqi in "untramelled of the elusive court
most
one
qualities but painting desirable language. associated the with in Chinese critical
Ideology History and
While lectures Nait6's prejudice have
Chinese rehashed old that viewed
may an
professionals the literati, conjunction inferior the Shinaron when read his in with
to as
41 (On
China, 1914), Fogel
book that Joshua influential A. called work "the
most
a on
''42
history Chinese culture and prejudice of the twentieth takes the old
century,
on a new
meaning: layer meaning of clarified, Before recapitulate this is be
it
to necessary
can
•j• of the ideas in China). (On Shinaron some
propounded Shinaron Nait6 time In for the first his famous thesis that the modern
•) period •_ (kinsei
began in China about thousand
the transition between
at
years ago,
a
Tang the Song.. and the Northern Tang Song, argued, the As the he the
great to gave way
families aristocratic strength, lost their officialdom and
the This
to
open was commoner.
accompanied
by military the rise having gained
who, of the the
to was governors
power
private armies, independent establish able
imperial decisions make the of
to
court. were
developments described Nait6 "incipient these republicanism," that trend continued
as a
steady
influence have politics
subsequent Chinese Fogel
dynasties. in tells As to
a on us,
Nait6 proving Shinaron for the "autocracy of
longer play that would wrote
purpose no
China; [that]
republicanism role in only befitting form the China, of
government any
was
''43 history age-old her and precedents had
for it. This
reaction of the kinds
to
was
a
• •-• •1• that Shikai Yuan and his embraced the arguments in
supporters post-
revolutionary period,
favored that the imperial
and the
arguments
autocracy
return to
• • • Inspired by Zongxi Huang (1610-95), tried system. Nait6 that the show
to
long Chinese moving had been republican towards popular allowed that
system a
participation, Qing collapse and dynasty that the of the had been inevitable.
Nait6's republicanism belief
that intrinsic society Chinese and beneficial
to was
regarding judgment with consistent his professional the relative merits of literati and
was
painting. Although importance deny he professional did the both of literati and
not
history painting the in of Chinese superior and that former the in
certain
art,
even was
periods, throughout repeatedly
his privileged lectures he painting Literati the latter. was
Ibid., •o 189.
p.
Nait6, 41 Shinaron, reprinted zenshft, in (1972). Nait6 vol. Konan 5
• Sinology, Fogel, Politics and 165.
p.
4• Ibid. 17
channel of civil through the who, scholar and the traditionally associated with the gentry
Nalt6, service. For
gain
into able examinations, government service
entry
to
were
their interests imperial bureaucracy, people the staffed although not of this class were
provided for backbone the scholar-officials the his view the state's. always identical In
to
only of artists, the professional paintings by Conversely, republicanism. court, servants
republicanism. realization of Hence the full contravened dynamics represented that the
rejected. they had be
to
curbing of evils the and participation popular in government importance of
The
early- and
late-nineteenth political ideology of the
the in themes
recurrent autocracy
were
by work and gain hard ableto Anyone should be Japan. twentieth
power century
pleasures
that achieving and the wealth barred from should be education,
and
no one
gaining
steadily
had been views democratic and meritocratic These
with it.
.come
occupation and "hereditary restrictions
abolition of since the Japan in
acceptance on
(1868-1912). Meij period during the residence"
avidly consumed youth atmosphere. Jean- he political
his In this in Nait6
grew up
44 aristocracy" "hereditary that its and Social Contract The argument Rousseau's
Jacques
inequality should be leading mechanisms all governments'" and that of all is "the to
worst
special privileges and division
class convinced that Early Nait6 minimized.
was on
attain the mobility.
able impede That he social they august should existed, but
to
not
was
completed
having "the University Imperial without position Kyoto of Professor
course at
''45 meritocracy. triumph personal
University in Imperial Tokyo graduating from
of
was a
rationalized
elites in of formation
''the witnessed Japan had 1900, By
a new
and examinations service civil based bureaucracy skilled
business and
management
on a
''46 gained graduates. Democratic university systematic of recruitment currents
even
manhood of universal period, witnessed the
which
force the Taish6 in enactment greater
J•l•,
7•7•" •- • advocate Kiichir6 S6da suffrage (1926), of such thinkers and the rise
as
•
• ILl bourgeoisie," Ishibashi • and
Tanzan ideology cultivated of the of "the
47 expression. of Works of representative and freedom champion of art
government
wealth, sophistication, and signs
of their cultural by the elites collected
new- were new
primary Nait6 visual
using by works his these
social And found
resources,
was power. as
capitalist
by possible consumerism changing simply reflecting
made
taste not or a a
strongly history his hints
China. Nait6's about cultural desire support tell at story art to a
democracy. of Taish6
and ideals, burgeoning the late nineteenth being democratic of Besides
era an
global setting. Japan's role the in of early in vision centuries also ushered twentieth
a new
invading of
struggling under the Westem realize its worth of nation Instead
to pressure
a
competing capable aspiring empire of with the considered itself elements, Japan
an now
confidence; Sino- given first in the military Japan had victories Several West.
new
battle with the in and in 1905, Russo-Japanese then the in 1895, War Japanese War
a
colony Shandong. in former German control Japan which
in
Germans 1914
gave over a
nationalism. of fueled Japanese victories the These sense
Ibid., 44 35. p.
Ibid., 45 121.
p.
Teachers, and 1905-1960 Japan: Ishibashi His Nolte, Tanzan Liberalism Modern 46 Sharon
in
1987), University Angeles, Press, of California 2. (Berkeley, and London: Los p.
Ibid., 47 173-84. p. 18
culture, he history and Despite Chinese for his nationalist.
Nait6
reverence
was a
Shandong. occupation of expansion and the passionately China Japan's into endorsed
explosive Fourth May occupation during the against protested Chinese the the When
[Japanese] word, chagrined remarked:
"In
that he Nait6 of 1919,
Movement
we a was so
only dead, is already collapse.
its longer is China will need ask when It
corpse to
no
tightly "4s and intertwined Japan wriggling. of China and
the fortunes He
as
saw
political sign of short- perceived anti-Japanism May Fourth of the the
protests
as a
sightedness China. in
leadership rightful in Japan's his belief in from Nait6's morbid
assessment sprang
against
battle expanding Japan's
resistance
Chinese the East. He
to
power as a saw
unstable; historically
him, history. According of Chinese culture the center to
was
region Nait6 south and the the through the central it had shifted from the east. to
to
ages
views
Japan. surprising His should be the felt be that it would
center
next
not were
propounded
his culture," "shifting in crystallized theory of into of Eastern
center
a
•Yi:•[g• Shumpei China) Okamoto (On of the 1924. famous Shin shina
New essay ron
theory summarizes this follows: as
Japan, Asia--China, Nait6, and Korea-- According in each of the nation East states to
viewpoint
broad established
basis for existence. From had been with its separate
a own
nation-states however, development distinctions these culture of the of Oriental
among
transcended inconsequential, developed along that certain since culture
course a
were
day the Chinese of Moreover, distinctions and boundaries. the national present
were
originally they different ethnic of three &one consisted least
at
two
not groups. race; or
Besides, developed: of disappeared the Chinese culture Racial distinctions center
as
passed. dynasty, in the Yellow it located culture shifted time Until the Han
was as
eastward, and it about Thereafter, well River basin. it moved southward
to
was as as
regard region. developed national with little for reach the Canton As culture
previously surprising distinctions, hardly Japan, under if which had would be it
come
cultural of the Orient. culture, the influence of Chinese should become the center
new
political entity, develop single China, Japan and "for If reason" into should
too,
some a
political easily Japanese
in and social the could China and themselves to engage
come
Nait6 Hence, national differences minor activities. stressed that such
matters were as
49 development cukure. details the total of Oriental in
shifting argued that the Japan Nait6 further from China of the cultural to
center
historically Chinese, by welcomed the who should be had benefited from the assimilation
foreign it of culture. felt that China unable advance its and that
He
to
own, even was on
relinquish sovereignty capable perhaps hands, This Japanese. should its the
to
more
feeling suddenly. early had he arise did the while he still As 1890s
reporter, not as was a
• • •+•, •[• • • • 1•=• • I_IA
• [] 48 Nait6 "Sant6 hai-Nichi kontei" Konan mondai
©
to
ron no
• 1-• [• • Shandong anti-Japanism), (July quoted (The 1919), Taiy6 the issue and of in roots
Torajir6's (Ko'nan) Shumpei, "Japanese Nait6 Chinese Response Okamoto Nationalism: to
1920s," Image 1920s, China the Gilbert Thomas of in in China Chan and Etzold the ed. H. m
Viewpoints, (New 1976), York: New 164.
p.
Torajir6's "'Japanese Shumpei, (Ko'nan) Chinese Nait6 49 Response Okamoto Nationalism: to
Image 1920s," of China the in 164. p. 19
of culture "the Scholars" that "'Japan's and Mission implied his already
in center
essay
''5°
already Japan.
had
about
to to
come
or was
competition heightened of the leadership the in East Japanese desire for The
sense
and collectors Western Chinese growing in interest The with the West. art
among
that felt
who anxiety Westerners Japanese, for of scholars
were
some
source
was a
following from patrimony. The attending the getting Eastern
them in ahead of passage to
9•:•7• :2•described
sentiment: this [] Nihon Bijutsu
of issue ¢3
1915 no a
Eastem depended historically China in
respects.
art
has
The of
country
many art
on
our
that
China. ]•5,:•-•) Now and Japan responsibility of both is the (Try6 geijutsu
we
America, and Europe of gradually passing hands into the works of Chinese find
art
booming in
is study Chinese of the well that all
do? is art should It what very
we
concerned, catch should be who the America,
Europe but and most up
we, ones can
national order being the West? In made in the with to essence, preserve
progress
leaking
from. them
and of prevent works methods country to protect art ways to
our
footing
firm established has
when discussed, but
been
country have
a our
now
overseas
territoriality, it is maintaining China's working towards hard has been East, and the
in
extend Rather,
should
simply cultural sufficient
longer
treasures.
to
we preserve
our no
Realizing
well.
[China] its cultural
neighbor and efforts protect
treasures
to as
our
our
keep
Chinese
best should do deeply connected
is Chinese culture that to
to
our ours, we
5• artifacts in the East.
Nakagawa probably what Shandong, Taiwan, and annexation of Korea The
was
footing in the East." He
firm had "established alluding said Japan when he
to a was
degree by
accompanied cultural imperialism political in be recognized that
must
some
political beyond domination active proposed going initiatives, he
to step
one
so
especially of China. imperialist that Japan's life of with the cultural targets,
engagement
preservation through of nation-building the undergone of Having several decades
it including Japan, in works of Chinese
of and works traditional culture art, art
was a
protection in seriously Chinese of the Japan for take extension natural art treasures
to
duty collectors Japan's with feeling Western it that China. There
compete
to
was was a
valuable, intrinsically but only
ownership because it Chinese of for
art--not
as was
heritage heritage, that contend, of the Nakagawa
it would because Eastern part
a was
expanding sphere belonged Japan's of
to power.
prerogative keep of Westerners' feeling Japan's Chinese that it The art out to
was
Emperors handscroll attributed by late the famous Nait6. the shared 1920s hands In
was
3?• [•g] • century) (seventh the Boston Liben
Tang Dynasty the Yan
went to
master to
5z
apparently
buyer Nait6 repeated Japan.
in after failures
Museum to attract so was a
•3 by Americans that he loss of that work the affected the wept.
to
important painters
Tang of the regarded the three Liben be Nait6 Yan most to
one
Daozi). the And his lectures in being (the Wei Wang and other Wu Dynasty two
Fogel,
Sinology,
Politics and 70.
See 50
p.
• • •
• • • •n
d• 1,•, Ill-•, "Try6 keik6" shfishfi geijutsuhin Tadayori Nakagawa © 5a
no no
(April 1915): • • Nihon,
art), 6. Bijutsu (Trends 7.8 of in the collection eastern ©
no
handscroll, Sasaki soliciting buyer Emperors description difficulty for the of
of the 52
For
see a
a
•Y• • •. • i• • • (Transmission of • •J ---, "Shinch6
• I• hih6 ruten" Nihon Grz6 ©
•z
no
•9•
•r (September 1965): •: Geijutsu 132-40. Japan), shmch6 Qing dynasty treasures to
Shunjirr, Rya 53 331. Aoe
seiza, p. no 20
th
Fig. Emperors, (7 detail; century), Attri. Liben and color silk. 6: Yan ink 51.3 531
on
x
(pictorial section). kaiga fig. shi, Shina of Fine Arts, Museum 17. Boston. cm.
"Emperors" significance. examining pigments special handscroll After accorded the
was
colophons Gengzi consulting Qing-dynasty Chengze's and
such and records
Sun
as
)•--• •f• •. • • • • • :•: • • • Qingxiaguan Xiu' hualun and ji jueju Wu xiaoxia
s
•,
probably Song concluded he of work that the demonstrative but
copy copy,
was a a
''54 stylistic early theory, dynasty portraiture. traits of "the Tang his he To
support
•, •-_7-, compared eighth-century portrait • the the handscroll of Prince Sh6toku
to
a
1• formerly • imperial • work in the of in Nara; believed the Sh6s6in he treasury
two
from paintings tradition, portraiture have emanated dynasty. the Tang of the that to
same
painting Emperors," this of "From figural he the Tang-style transmission of "the wrote,
grasped." Japan into tradition occasionally lectures, be his shunted from Nait6 In his
can
Chinese discussions materials Japanese of
and These like Korean
to art. may seem
digressions,
important but indications interconnectedness Nait6's belief the of in of are
the of different cultures. Eastern art
importation" Nait6's
clearly enthusiasm
for the "new related the desire to to was
Chinese works of from the inclined think of culture West. He protect Western
art to
was
lacking beauty spirituality, in against and exportation
and cautioned the cultural of as
''5• China, from the West called ''the nation which he Asia. in East treasures
to greatest
Therefore, large of when quantities, works flow argued started of China in he
art to
out
Japan that they should Taking absorb lest all fall them into hands. lead Western the in
maintaining
heritage duty cultural
the Japan's of China Nait6 of nation
part to
was as a a
in the East.
responsibility respected Nait6 felt scholarship. towards the Chinese their and In
a
frequently painting his history, referred
lectures Chinese he classics of well
to as as
54 kaiga Nait6 shi, Konan, Shina 54-57.
pp.
Sinology, 55 Fogel, Politics and 66-67. pp. 21
mirrors, inscriptions, and other items rubbings, catalogues, stelae, painting bronze
•, J-• Zhouli from the preserved first lecture with introduced his
China. in
He
passages
..• •g•-, {•7•, •, • China. • Shiji in revered In ancient Chuci and Zuozhuan
texts
archaeological presented finds, such paintings dynasty,
explaining he
of the Han
as
j• • •, •'• I_l_l, Liang and paintings Xiaotang Shrine carvings Mountain from Wu and
begun economic considerable Japan had have .China where other sites northeastern in to
political influence. and
organic causally and systematically arranged material evidence into Nait6
an
continuities, mapping
by period another linked narrative.
coherent He out to
one
political discovering social, historical, transformations, and influences, In and contexts.
writing since historical the in had been narrative this West, the
strategy art
a common
early Japan. The twentieth eighteenth in but it novel
century
art century, one was a
]•j[ • •) •g (1891-1948) that Nait6's the in 1940s Sen'ichir6 historian Ise wrote
of ground-breaking the title "the founder that deserved method he historicist
so was
56 had been painting history.', narrative of Chinese claimed that traditional
Chinese
Ise
art
•), •lJ •-g bring
biography (retsudentai could neither narrative form that limited
out
to
a
•t•4 1•) • organic relationships" 0•k/na 7•. artists illuminate kanren between "the A
nor
(keika painting styles development
of historical continuum" "the
taru
suru renmen as a
]([•).57
•-_• •:•
• • • :g• •'-'q- • -]'•_ gafft Nait6's y6s6 • • hatten Because © art
no
view, organicist clearly biography, history approach it in its broke with Ise's in
was,
history. "true"
writing biography only historical in claim that had the form of Ise's the been
art
• p•. ,•
eight misunderstanding Shaosong (Yu identified least has China
at
was a
5• misunderstanding pervasive others), of both China it the critical in literature but
was a
beginning Biography symbolize Japan the of the twentieth had and
century. to at
come
profound historiographical China, influence entire tradition of which had had the
a on
history writing Meiji period. kings Japanese until the Stories of the rise and fall of and
description paradigmatic loyal regarded of lives of evil ministers the
or as were
metaphors proclivity imperium, proclivity privilege for the Chinese the condemned
to a
development history people. history bane the of for and of the Nait6's
art
to as a a was
expression history imperial its itself of this desire the of China from past. to wrest an
• •J[• •f• •.• s6shisha, Senichir6, kaiga igy6"' 56 "Shina shi Nait6 hakushi ichi ko Ise
Konan
no no
5• • • • • • • • • • • • • pa•t•g hi•ow, (Fo•der of Cheese Nait6 Dr. 69 •
• • legacy), (July (July 1940): 1941): 91-111; 1-3, 15-28, Kon• •d his H6un 26 27 28 pa•s
graduate Imperial University (December 1942): Kyoto NaitS's of •e Ise •d 85-117.
was a
• •g • •,
barely •i•y •iga 1922, old, of •udent. he Shina •
•
•e
su•ey years a no
pa•t•g promis•g repu•ion gradually Cheese identified •at scholar field. •s him • •e
as a
•ereaffer, hi•ow and when
Culture •e •itute of Oriental needed write of
to grew someone a
part,g, l•ds•pe •ey Cheese it whom tumed. •e result Galshi Ise Kel Ko
yori
to
was was
• • • • • •J • • 7• • • • •o• • 9 • Shi• shi of • K6 sansuiga m itaru:
pa•t•g l•dscape Jing (Kyoto: ga•, 1934). Hao) Cheese from Kai•i T6h6 Gu b•ka to
Ibid., 5• 27, 93.
p. no.
Shaosong, 58 Bibliography Writings Pa•t•g (•omted See Shuhua Yu of shulu and flea
on
Calligraphy) •eip•g: preface Beip•g libra,, 1932). National Besides works li•ed under
san•
(•
• • • •, •, • •, • • •, •, zuofa te•s," "1o• •ere lunshu zhulu
p•nzao •zan are
•, •, •. •d zashi con•i weituo 22
historiographically interesting for several of Painting History is Chinese Nait6's
adaptive researcher. displayed and
Nait6
this work
In great
narrator
power
a as reasons.
viewpoints frequently similar those of though Nait6 arrived Japanese, he Even to
at
was
by entirely encumbered Chinese time, the he scholars. Chinese But
at not
same was
methodology. Furthermore, historiographical openly adopted conventions and Western
painting, especially
importation," literati endorsement of the his "new
recurrent was
ideological Through activities connoisseur his the of his time. with trends consonant
as a
leanings
historian, and his democratic Nait6 vehicle his and used China
art to express as a
of nationalism. support
product unique History of constellation of Nait6's Painting the of Chinese
was a
relationships studies, with dealers situations. devotion historical Chinese his His art to
dynamics collectors, different lent and
Japan, and each in in and the social
texture way a
history, subject
history that is still of substance his The Chinese arguments.
art to
a
largely political, social, unexplored, help and conditions of cultural illuminate the
may
early Japan. twentieth century 23