The Role of Japan in Modern Chinese Art Edited by Joshua A. Fogel Published in association with the University of California Press “This ambitious, very important project defines no less than a new field of inquiry, one that scarcely could have been attempted in the past. The essays in this volume add enor- mously to the documentation of what late-period Chinese art learned from Japan, and begin to formulate conclu- sions that will enrich future accounts of both Japanese and Chinese art.” JAMES CAHILL, University of California, Berkeley The modern histories of China and Japan are inexorably intertwined. Their relationship is perhaps most obvious in the fields of political, economic, and military history, but it is no less true in cultural and art history. Yet the traffic in artistic practices and practitioners between China and Japan remains an understudied field. In this volume, an international group of scholars investigates Japan’s impact on Chinese art from the mid-nineteenth cen- tury through the 1930s. Individual essays address a range of perspectives, including the work of individual Chinese and Japanese painters, calligraphers, and sculptors, as well as artistic associations, international exhibitions, the collotype production or artwork, and the emergence of a modern canon. JOSHUA A. FOGEL is Canada Research Chair and a professor of history at York University, Toron - to, and a specialist in the history of cultural and political ties between China and Japan in the mod - ern era. CONTRIBUTORS: Julia F. Andrews | Shana J. Brown | Chen Jie | Lisa Claypool | Walter B. Davis | Zaixin Hong | Yu-chih Lai | Tamaki Maeda | Kuiyi Shen | Richard Vinograd | Cheng-hua Wang | Aida Yuen Wong New Perspectives on Chinese Culture and Society, 3 The Role of Japan in Modern Chinese Art New PersPectives oN chiNese culture aNd society A series sponsored by the American Council of Learned Societies and made possible through a grant from the Chiang Ching-kuo Foundation for International Scholarly Exchange 1. Joan Judge and Hu Ying, eds., Beyond Exemplar Tales: Women’s Biography in Chinese History 2. David A. Palmer and Xun Liu, eds., Daoism in the Twentieth Century: Between Eternity and Modernity 3. Joshua A. Fogel, ed., The Role of Japan in Modern Chinese Art 4. Thomas S. Mullaney, James Leibold, Stéphane Gros, and Eric Vanden Bussche, eds., Critical Han Studies: The History, Representation, and Identity of China’s Majority The Role of Japan in Modern Chinese Art Edited by Joshua a. Fogel Global, Area, and International Archive University of California Press Berkeley los aNgeles loNdoN The Global, Area, and International Archive (GAIA) is an initiative of the Institute of International Studies, University of California, Berkeley, in partnership with the University of California Press, the California Digital Library, and international research programs across the University of California system. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2012 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. Manufactured in the United States of America 21 20 19 18 17 16 15 14 13 12 10 9 8 7 6 5 4 3 2 1 The paper used in this publication meets the minimum requirements of aNsi/Niso z</39.48–1992 (r 1997) (Permanence of Paper). To Ye Xiaoqing (1952 – 2010), participant at the conference that led to this volume, and scholar extraordinaire Contents List of Figures ix Acknowledgments xi Introduction: Art History and Sino-Japanese Relations 1 Joshua A. Fogel Part i. siNo-JaPaNese artistic iNteractioNs 1. Travels to Japan by Chinese Painters and Calligraphers in the 1870s and 1880s 13 Chen Jie, translated by Joshua A. Fogel 2. Tea and the Art Market in Sino-Japanese Exchanges of the Late Nineteenth Century: Sencha and the Seiwan meien zushi 42 Yu-chih Lai 3. Modern Antiquarianism and Sino-Japanese Rivalry: Yang Shoujing in Meiji Japan 69 Shana J. Brown 4. Welcoming the Japanese Art World: Wang Yiting’s Social and Artistic Exchanges with Japanese Sinophiles and Artists 84 Walter B. Davis Part ii. collectiNg aNd exhiBitiNg art aNd the Market 5. Moving onto a World Stage: The Modern Chinese Practice of Art Collecting and Its Connection to the Japanese Art Market 115 Zaixin Hong 6. Reforming Calligraphy in Modern Japan: The Six Dynasties School and Nakamura Fusetsu’s Chinese “Stele” Style 131 Aida Yuen Wong 7. Sites of Visual Modernity: Perceptions of Japanese Exhibitions in Late Qing China 154 Lisa Claypool 8. Japanese Oil Paintings in the First Chinese National Fine Arts Exhibition of 1929 and the Development of Asian Modernism 181 Julia F. Andrews Part iii. deFiNiNg the caNoN 9. (Re-)Canonizing Literati Painting in the Early Twentieth Century: The Kyoto Circle 215 Tamaki Maeda 10. The Japanese Impact on the Construction of Chinese Art History as a Modern Field: A Case Study of Teng Gu and Fu Baoshi 228 Kuiyi Shen Part iv. PriNtiNg aNd PuBlishiNg art 11. Patrimonies in Press: Art Publishing, Cultural Politics, and Canon Construction in the Career of Di Baoxian 245 Richard Vinograd 12. New Printing Technology and Heritage Preservation: Collotype Reproduction of Antiquities in Modern China, circa 1908 – 1917 273 Cheng-hua Wang Notes 309 Character List 373 Bibliography 409 Contributors 465 Index 467 Figures 1.1. Japanese Merchants Hunt for Rarities 24 1.2. Chen Honghao, Weimei huaguan shichao 29 1.3. Horinishi Beichū, “Kinsui tōshi” 30 1.4. Mori Kinseki, “Naniwa ōkawabata, shikaizu” 31 1.5. Brush Conversation, Mori Kinseki and a Chinese Calligrapher 32 1.6. Hu Zhang, Small portrait of Mori Kinseki 33 1.7. Letter from Hu Zhang to Mori Kinseki 35 1.8. Tsuchiya Hiroshi, Kaikō hitsugo 38 1.9. Wang Yin, Yemei shipu 39 2.1 From Yamanaka Kichirobee, ed., Seiwan meien zushi 43 2.2 Hu Gongshou’s Inscription, Seiwan meien zushi 46 2.3 Zhang Xiong’s Inscription, Seiwan meien zushi 46 2.4 Drawing by Tanomura Chokunyū 46 2.5 Liang Wenwan’s inscription for seki eleven 47 2.6 Wang Yin, Level Forest and Misty Rain 48 2.7 Wang Jianzhang, Cascades and Lofty Pines 49 2.8 The Seventh Seki Held at Shiroyamaji oshitsu 56 2.9 Japanese Merchants Hunt for Rarities 59 2.10 Hirose Tōsuke, ed., Shinchō shoga ichiran 60 2.11 Detail of 2.10 61 ix x / Figures 2.12 Nagao Muboku, The Picture of Mr. Zhang and Mr. Hu Loftily Appreciating Kōju ryō sensei gahu Painting 66 2.13 From Seiwan meien zushi 67 4.1 Wang Yiting, Bamboo, Brook, and Perched Crows 94 4.2 Wang Yiting, Meditation 94 4.3 Wang Yiting, Grasping Su’s Poetry 95 4.4 Wang Yiting. The Luohan Ingata 98 4.5 Wang Yiting. Mr. Clay Cottage Possesses Morality 100 4.6 Wang Yiting. Summer Repose in the Cool of a Pine 101 6.1. Nakamura Fusetsu, Emperor Wu of Liang Dynasty Meets Dharma 132 6.2. Nukina Kaioku, Poetic Quatrain 133 6.3. Nakamura Fusetsu, Poem by Li Bai 134 6.4. Kang Youwei, Calligraphy Couplet 137 6.5. Nakamura Fusetsu, Calligraphy 137 6.6. Interior of Taitō Ward Calligraphy Museum 140 6.7. Nakamura Fusetsu Writing Large-Character Calligraphy 140 6.8. Nakamura Fusetsu and Friend 141 6.9. Rubbings Taken of Ancient Sutra Letters at Mt. Tai 142 6.10. Nakamura Fusetsu, Ryūminjō 144 6.11. Anonymous, Rubbing of Stone Engraving, 12 c.e. 146 6.12a–6.12b. Anonymous, Kaitongbaoxiedao keshi, 63–66 c.e. 148 6.13. Select Characters from Ryūminjō 150 6.14–6.15. Kawahigashi Hekigotō, Haiku Calligraphy 151 7.1. Anthropological Display at Tokyo Imperial University 156 7.2. Gallery Plan, British Museum 157 7.3. Japanese Guidebook, 1903 Osaka Exhibition 158 7.4. English Guidebook, 1903 Osaka Exhibition 159 7.5. Visiting the Museum (Wang Tao) 162 7.6. A Broad Look at Museums (Wang Tao) 163 7.7. Poster for the 1903 Osaka Exhibition 167 7.8. Map of the 1903 Osaka Exhibition Site 169 Figures / xi 7.9. Exterior of the Jinruikan (Hall of Mankind) 175 7.10. People on Display in the Jinruikan (Hall of Mankind) 176 8.1. Wada Eisaku, Nude; Ishii Hakutei, Mahjong 185 8.2. Mitsutani Kunishirō, Nude; Wada Sanzō, Nude 186 8.3. Terauchi Manjirō, Nude; Umehara Ryūzaburō, Woman 187 8.4. Ishikawa Toraji, After the Bath 189 8.5. Kobayashi Tokusaburō, Still Life with Fish 189 8.6. Nakamura Fusetsu, Obtaining the Lanting Sutra by Trickery 190 8.7. Okada Saburōsuke, Silver Harmony 197 8.8. Wada Eisaku, Tulips 198 8.9. Kojima Torajirō, Autumn at Tianpingshan, Suzhou 199 8.10. Kojima Zentarō, Weaving 205 11.1. Di Baoxian, 1900 244 11.2. Di Baoxian, 1932 244 11.3. Di Baoxian, 1934 244 11.4. Di Baoxian, Weeping Willows 246 11.5. Wang Meng, Dwelling in Reclusion in the Qingbian Mountains 250 11.6. Zhang Jian’s introduction to Famous Chinese Paintings 253 11.7. Attr. Zhou Wenju, A Happy Retreat in the Floating Villa 262 11.8. Shenzhou guo guang ji, calligraphy by Wu Changshi 265 11.9. Attr. Guan Daosheng, Guanyin with a Fish Basket 266 11.10. Su Hanchen, Palace Lady Bathing a Child 267 12.1. Jin Nong, Figure in Landscape 274 12.2. Lithographic Plate from Dianshizhai Pictorial 281 12.3.