Toward the Future: Museums and Art History in East Asia Toward the Future: Museums and Art History in East Asia Edited by Hiroyuki Suzuki and Akira Akiyama Editors: Hiroyuki Suzuki and Akira Akiyama Editorial Coordinator: Saskia Thoelen Cover Design: Kozo Wakasugi Copyediting: Interpublica Co., Ltd. Published by the Japanese Committee for CIHA, Comité International de l’Histoire de l’Art, and the Otsuka Museum of Art. Tokyo, 2020. Any of images in this book may not be reproduced, copied, transmitted, or manipulated without consent from the owners, who reserve all rights. ©2020, the authors, the editors, Comité International de l’Histoire de l’Art, and the Japanese Committee for CIHA. This publication has been made possible thanks to the financial support of the Otsuka Museum of Art and the Kajima Foundation for the Arts. CONTENTS 6 FOREWORD AND ACKNOWLEDGMENTS 9 INTRODUCTION TO THE COLLOQUIUM: Perspectives for the Future Study of East Asian Art History Hiroyuki SUZUKI 18 1. COMPARATIVE OR CROSS-CULTURAL APPROACHES TO EAST ASIAN ART BEFORE THE SUSTAINED CONTACT WITH THE WEST 19 Envisioning the West: European-style Paintings in Late Sixteenth-Seventeenth Century Japan Katsura WASHIZU 27 Changes in Perception of Japanese Gold Folding Screens in Korea Following the Latter Half of the Eigh- teenth Century: Focused on Korean Art Works with the Golden Rooster Motif PARK Seong Hee 39 Pictures and (Re)Production: Images of Work and Labor in the History of Japanese Gafu (Woodblock-Printed Painting Compendia) Chelsea FOXWELL 50 Before Sculpture Stanley ABE 57 From Curiosities to National Treasures: Chinese Art and the Politics of Display in Britain, 1842-1935 Catherine PAGANI 69 2.THE FOUNDATION AND DEVELOPMENT OF MUSEUMS, ART COLLECTING, AND ART HISTORY IN EAST ASIA AFTER THE ENCOUNTER WITH THE WEST 70 Art Objects Micro-Collection and Ideas Circulation in Relation to Individual Enterprises: The Case-Study of Italy Rossella MENEGAZZO 3 | Toward the Future: Museums and Art History in East Asia CONTENTS 83 From Japonisme to Japanese Art History: Trading, Collecting, and Promoting Japanese Art in Europe (1873–1914) Wibke SCHRAPE 93 Competing for a Meiji high culture championship? The ambivalent relations between Okakura Kakuzō and Ernest Fenollosa’s bijutsu fukkō movement and Meiji bunjingaka, from the Fenollosa -Weld collections of the Boston Museum of Fine Arts to Sugawara Hakuryū Arthur MITTEAU 120 Vestige of an Empire. Treasure of the Nation: Present- ing the Ōtani Collection in China, Japan and Korea Ji Young PARK 130 La Conception des beaux-arts par les intellectuels vietnamiens Junko NIMURA 141 Apollo and the Reform of Chinese Art at the National Academy of Arts in Hangzhou, 1928–1936 Juliane NOTH 151 The Collectibles and the Devotional: The Patronage Practice of the Chosŏn Court Prior to the Advent of Museum System Seunghye LEE 160 On the Longmen Grottoes and the Establishment of East Asian Art History in the United States ca. 1913–1939 Fletcher COLEMAN 173 Matsukata Invisible: Losses of the Matsukata Kōjirō Collection in Troubled Historical Context Nathalie NEUMANN 182 Museums in East Asia: The History of the Reception and the Utilization of the Western Institution Mitsuru HAGA 4 | Toward the Future: Museums and Art History in East Asia CONTENTS 199 The Recent Understanding of the Concept of Art History in Mainland China XIA Yanjing 206 Theory of the Transnational and East Asian Art History Toshio WATANABE 213 NOTES ON CONTRIBUTORS 5 | Toward the Future: Museums and Art History in East Asia FOREWORD AND ACKNOWLEDGMENTS Hiroyuki SUZUKI / Akira AKIYAMA Editors, the Executive Committee for the 2019 CIHA Colloquium in Tokyo FOREWORD AND This volume, the proceedings of the 2019 CIHA Colloquium in Tokyo, ACKNOWLEDGMENTS held at the auditorium of Tokyo National Museum on March 10 and 11, 2019, includes seventeen papers contributed to the volume by the speakers who read their paper at the meeting, along with the inaugural paper for introduction. The colloquium, titled “Toward the Future: Museums and Art History in East Asia,” consisted of two sessions with respective titles, “Comparative or Cross-cultural Approaches to East Asian Art before the Sustained Contact with the West” and “The Foundation and Development of Museums, Art Collecting, and Art History in East Asia after the Encounter with the West.” Gathering from seventeen countries and regions in the world, a total of 158 people participated in this two-day meeting. Through discussing various issues of East Asian art history and examining the state of the field, the colloquium intended to explore the ways to expand the range of the field for future studies, and to contribute toward the comprehensive reorientation of East Asian art in the age of globalization. For this purpose, two sessions were designed to respectively focus on the foundations and developments of museums, art history, and other related institutions in a modern sense; and to focus on related practices and activities, such as the collection of artistic objects, and the historiography of arts and artists in pre-modern East Asia. In particular, both sessions were oriented to encourage the speakers to take comparative and interregional or trans-regional viewpoints for the examination of artistic practices and activities of the past and present. While the first session was designated to various issues of pre-modern East Asian art, the second focused on the issues of modern and post-modern East Asia art. By taking these viewpoints, we expected, the sessions would stimulate the participants to compare between pre-modern practices and modern institutions, between different regions in East Asia, and between East Asian and Western reactions and activities after their direct contacts. Although the range of topics for the two sessions was limited to East Asian artistic phenomena, the papers and following discussions showed a clear vision on the possible directions that the field of study could take in the future. From the 1980s onward, a set of bipolar tendencies has become prevalent in the field of art historical studies. On one hand, global-oriented researches have expanded the tradi- tional field of study to the range of studying images in the broadest sense, leading to the inclusion of the field of visual culture. On the other, regional-oriented researches have criticized the historicity of the Western concept of “art,” and have been skeptical of the univer- sality of the concept on which the discipline of art history has been 7 | Toward the Future: Museums and Art History in East Asia FOREWORD AND founded from the outset. Under such circumstances, the present ACKNOWLEDGMENTS state of the field has become more and more borderless. Reflecting these trends, many of the papers suggested to the participants the need to redefine the range of the field and to find alternative frame- works for future study. We hope that the readers of this volume may share these perspectives with the participants of the colloquium. On behalf of the members of the Japanese Committee for CIHA, we wish to express our sincere gratitude to Tokyo National Museum, for their generosity in joint-organizing the colloquium, and to the co-or- ganizer Otsuka Museum of Art, for their sponsorship and kindness to provide their website for these e-book proceedings, as well as to the Kajima Foundation of Arts for their financial support, and to the Science Council of Japan and the Japan Art History Society for their sponsorship. We also wish to thank the CIHA’s executive members, the president Professor Lao Zhu, the scientific secretary Professor Jean-Marie Guillouët, the administrative and treasury secretary Professor Dr. Tristan Weddingen, and other board members, for their understanding and cooperation to realize this colloquium, and to Professors Hiroko Ikegami, Yukio Lippit, David J. Roxburgh, and Akira Takagishi for their contribution as moderators, who stimulated the discussion for each paper. We express our sincere thanks to Saskia Thoelen for her contribution to the editorial work for this volume, and to Yoshiki Nishikawa and Naoko Miyazaki for providing their expertise. Finally, we express our special thanks to the thirty graduate students from Gakushuin University, Keio University, Tokyo University of the Arts, and the University of Tokyo, without whose assistance the meeting would not have been successfully managed. In addition, we should refer to one speaker, Horikawa Lisa, to appreciate her con- tribution to the colloquium although this volume unfortunately could not include her paper. 8 | Toward the Future: Museums and Art History in East Asia INTRODUCTION TO THE COLLOQUIUM: Perspectives for the Future Study of East Asian Art History Hiroyuki SUZUKI INTRODUCTION TO This introduction examines some approaches to East Asian art history, THE COLLOQUIUM: Perspectives for the Future that may lead us to an appropriate understanding of the intercultural Study of East Asian Art History relations in this area, hoping that they may also show us a way of overturning the framework of national art history. In recent years, art historians have been paying attention to approaches toward the formulation of world art history in a global perspective. Similarly, historians of East Asian art have been aware of the inadequacy of the framework of national art history when approaching interregional cultural relations over a number of existing nation-states. However, this framework, which has long functioned as a cultural ideology of a nation-state in modern times, still seems to be unrelenting. Art history has so far accumulated various viewpoints and methodologies that enable art historians to know more about art, think better about art, and find a better way of discussing art on a firm basis. This, I believe, should encourage us to go on a quest to find an alternative framework for the future study of art history. 1. Wayfarers over the Sea: Pre-modern Buddhist Paintings In spite of the present situation, some recent arguments have inspired effective discussion on interregional cultural exchanges with a hopeful provision to find an alternative framework.