First published 2020 by the Sainsbury Institute for the Study of Japanese Arts and Cultures 64 The Close, Norwich, Norfolk, NR1 4DH © 2020 Sainsbury Institute for the Study of Japanese Arts and Cultures The right of Toshio Watanabe to be identified as the author of the original material and Christopher J. Hayes as editor has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. Cover design by Christopher J. Hayes Front cover image: the Japanese garden in Cowra, New South Wales. Photograph by Toshio Watanabe Rear cover photograph by Andi Sapey This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International Licence. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This licence allows for copying any part of the work for non-commercial use, providing author attribution is clearly stated. British Library Cataloguing in Publication Data: a catalogue record for this book is available from the British Library ISBN (PDF): 978-1-9989929-1-1 ISSN 2635-1455 Every effort has been made to contact copyright-holders, but if any have been overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Visit our website: www.sainsbury-institute.org 渡辺俊夫学術論文集 ―日本とは？― セインズベリー藝術研究所オケージョナル・ペーパー第1号 編集 クリストファー・J・ヘイズ 第２部：日本語論文 日本近代絵画史における第三勢力としての水彩 95 画運動 English-language abstract 109 Preface vii Simon Kaner 記憶と美の相剋－アジア太平洋戦争と庭園 111 English-language abstract 133 Editor’s Note xi Christopher J. Hayes ２０世紀ジャポニスムを考える 135 English-language abstract 146 Foreword xv Rebecca Salter 近代西洋美術概念の変遷におけるジャポニスムの役割 149 English-language abstract 158 Introduction 3 Eriko Tomizawa-Kay ジャポニスム研究再考 161 第１部：英語論文 This is the Japanese version of Japonisme Studies Reconsidered ‘No one would wish to learn about Botticelli from a 9 Japanese’: Yukio Yashiro, Bernard Berenson and the ユートピアとしての武蔵野 171 Historiography of Western Art in Japan English-language abstract 194 Decolonising Art History 53 Image Credits 196 Theory of the Transnational and East Asian Art History 59 Curriculum Vitae of Toshio Watanabe 198 Japonisme Studies Reconsidered 71 What is Japonisme? Terminology and Interpretation 83 iv v vi generations of specialists at the Sainsbury Institute and the University of East Anglia. Professor Watanabe has been central to many of the Institute’s projects, in recent years including Tokyo Futures and the Ishibashi Foundation Lecture Series, representing the Institute in the UK, Japan and around the world. We could not ask for a better ambassador, and we are delighted to support this publication in celebration of his 75th birthday. We are grateful to all of our partners and supporters, in particular our benefactor Lord Sainsbury of Turville and the Gatsby Charitable Foundation, without whom we would not be able to carry out our When the Sainsbury Institute for the Study of Japanese Arts and mission. Cultures was established two decades ago through the generosity of our founding benefactors Sir Robert and Lady Lisa Sainsbury, its mission Simon Kaner was to encourage high quality research into all aspects of Japanese arts Executive Director and cultures, from prehistory to the present. Since those early days the Sainsbury Institute for the Study of Japanese Arts and Cultures Institute has grown to become one of the most significant constellations of expertise in Japanese art, archaeology and heritage, and our mission has also evolved. World-class research continues to be at the heart of what we do, using all available means to disseminate the findings of that research to as wide an audience as possible. To that end it is a great pleasure to launch our new series of Sainsbury Institute Occasional Papers with this collection of contributions by Toshio Watanabe, our Professor of Japanese Arts and Cultural Heritage. Professor Watanabe has redefined the field of Japonisme over his long and distinguished career. He continues to make a major contribution, through the development of new research initiatives, notably transnational approaches to Japanese art, and in particular gardens, and also through his generous mentoring of new vii viii ix x have been provided for Japanese-language papers, and can be found after the papers themselves (these are also listed in the table of contents). Perhaps rather unconventionally, papers have been presented in reverse chronological order. The first paper “‘No one would wish to learn about Botticelli from a Japanese’: Yukio Yashiro, Bernard Berenson and the Historiography of Western Art in Japan” is being published for the first time in this volume. The works following this have been As explained by Simon Kaner in his Preface, world-class research published elsewhere, and credits can be found at the ends of papers. is at the heart of the Sainsbury Institute’s mission. The Sainsbury Since these papers were originally written for different Institute Occasional Papers series represents a new direction in our publications and audiences, there are differences in style, tone, spelling dissemination activities, building on our previous occasional and referencing. Where possible, spelling and referencing have been publications and our public lectures. The Open Access status of this standardised across papers. Some papers were originally written as publication is thus crucial to the objectives of the series, aiming to conference presentations and adopt a more conversational tone and ensure that our research is accessible to as wide an audience as lack citations. On the opposite end of the spectrum, the first paper has a possible. total of 84 endnotes! For the first volume in this series, it seemed only natural to turn to Japanese words have been written using a modified Hepburn one of the Sainsbury Institute’s most senior scholars, Toshio Watanabe, romanisation, using macrons (ō, ū, etc.) to denote extended vowels. with the publication itself coming on the eve of his 75th birthday. In both Japanese terms are primarily italicised, unless they are Japanese words the Foreword and Introduction, Professor Watanabe and his credentials familiar to the non-Japanese reader (such as “Tokyo”). These are not have been more than adequately accounted for, so I will not repeat italicised, nor have macrons. Japanese names have been given in the anything here. Suffice it to say, however, that his contributions to Japanese name order: family name followed by given name. academia are substantial, which this publication hopes to reflect. As editor of this volume, I could not be more pleased with how it This volume consists of a selection of Professor Watanabe’s recent has turned out. I hope you enjoy reading it as much as I enjoyed putting papers, including both previously published works as well as hitherto it together. unpublished papers. There are both papers in English and in Japanese, Christopher J. Hayes and these have been separated accordingly, with the first half of the Research Associate volume dedicated to the English-language papers, while the second half Sainsbury Institute for the Study of Japanese Arts and Cultures contains the Japanese-language papers. English-language abstracts xi xii xiii xiv The life of this research group lives on for me in several close friendships nourished by this shared experience and interest. Now, as President of the Royal Academy of Arts, I have the opportunity to nurture the links between that historic institution and Japan. It is little known that the first student from Japan in the Royal Academy Schools arrived in 1880. Tatsuno Kingo spent a year with us before returning to Japan to embark on an illustrious career as an architect. We may not realise it but we are all familiar with his buildings, Tokyo Station perhaps being the most famous. The 1980 Great Japan Exhibition: Art of the Edo Period 1600- 1868 at the Royal Academy I am delighted to have been given this opportunity to celebrate remains ground-breaking in its scope and curiously connects back to the contribution of Toshio Watanabe to the world of Japanese Toshio’s interest in 1930s Japan. After the successful International scholarship. It seems extraordinary that we are already celebrating his Exhibition of Chinese Art at the Royal Academy in 1935, discussions 75th birthday but I am confident that this publication will just mark a were under way for a Japanese exhibition of similar ambition. Sadly, war brief moment in his long academic career. We can look forward to many intervened and we had to wait until 1980 before a British audience more years of his scholarly insight. could appreciate the rich splendours of Edo Japan. I first met Toshio when I was invited to be a member of the Scholarship, however, has been better served by Toshio’s timely Research Centre for Transnational Art, Identity and Nation (TrAIN) at the involvement and this publication is testament to his dedication to the University of the Arts London which he was so instrumental in founding field and anticipates more projects in the future. in 2004. I was part of the AHRC funded Forgotten Japonisme research group which focussed on the period of the 1930s to 1960s which is often overlooked in Japanese research. Every meeting of the group served up a rich diet of unexpected discoveries and untold stories which Rebecca Salter I am sure will form the foundations of research into this fascinating President of the Royal Academy of Arts period for many years to come. Toshio encouraged us all to interpret the brief widely and as a result I was able to investigate the still thriving tradition of senshafuda in Tokyo and spent many fascinating hours with both craftsmen and collectors mapping the links back to the Edo period. xv xvi xvii history, his interest in art history was piqued.