| Project/Area Number |
17320033
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| Research Category |
Grant-in-Aid for Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Aesthetics/Art history
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| Research Institution | Jissen Women's University |
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Principal Investigator |
MIYAZAKI Noriko Jissen Women's University, Dept.of Literature, Professor (20135601)
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| Co-Investigator(Kenkyū-buntansha) |
TOMITA Jun Jissen Women's University, Head of the Collection (20227622)
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| Project Period (FY) |
2005 – 2007
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| Project Status |
Completed (Fiscal Year 2007)
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| Budget Amount *help |
¥13,600,000 (Direct Cost: ¥12,700,000、Indirect Cost: ¥900,000)
Fiscal Year 2007: ¥3,900,000 (Direct Cost: ¥3,000,000、Indirect Cost: ¥900,000)
Fiscal Year 2006: ¥4,000,000 (Direct Cost: ¥4,000,000)
Fiscal Year 2005: ¥5,700,000 (Direct Cost: ¥5,700,000)
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| Keywords | Collections of Chinese painting and calligraphy in Japan / Sumitomo Collection / Collection of Seikado Library Museum / Takashima Collection of Tokyo National Museum / Chinese art market from 19 to 20 century / History of Chinese art studies in Japan / Chinese literati culture and Japan / Roll of Tea ceremony in Modern Japan / 中国書画 / 日本近代のコレクター / 住友コレクション / 岩崎家コレクション / 近代の日本画家と明清画 / シレーン / 清末コレクター / 高島コレクション / 槐安居コレクション / 住友家コレクション / 桑名鉄城 / 近世以前の日本所在中国画 / 欧米の中国書画コレクター / 清末における文人と書画収集 / 作品付属品(箱書き、添え状) / 近代の中国書画コレクション / 鑑定と作品評価の変遷 / 日本伝来書画 / 清末の中国書画の移動 / 探幽縮図 |
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| Research Abstract |
In this research project, we focused on the topic of how Chinese painting and calligraphy collections were formed in Japan from late 19 to early 20 century. After Meiji Restoration, Japan tried to jump out from the traditional China-centralized world and tried to establish the status in the new Western-centralized world. Facing to the Western world, Japan also noticed the necessity of cultural identities differing from Chinese one. The history of art collections was deeply related to the social and political interests of the period.
On the other hand the respect for traditional Chinese culture including painting and calligraphy had not changed in Japan until late Meiji era. Taking over the past collections, the new political and economic leaders built Chinese art collections. They also showed their collections in Chinese literati style tea ceremony which had been important means for their mutual receptions. Later it was replaced by the so-called' Japanese style' tea ceremony as a way of
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social association among Japanese upper class. Chinese literati art of Ming and Qing dynasties has been reducing the relative value in Japanese art market, while Song-Yuan painting from old Japanese collections obtained the high estimate again after long interval from Momoyama period. This shift might be related to the establishment of "Japanese Art" itself or the high estimate of Momoyama art as a representative of Japanese art.
Early 20 century, however a new wave also came to the Chinese art market in the world. Through the political turmoil of late Qing dynasty, a large number of Chinese painting and calligraphy were brought and sold to Japan. That raised the new collections in Japan especially among Kansai business leaders with help of scholars of Sinology of Kyoto University. With the cooperation of research staff of Japanese major Chinese art collections ; Tokyo National Museum, Sumitomo collection (Senoku Hakko Kan, Kyoto) and Iwasaki family or Mitsubishi zaibatsu collection (Seikado Library Museum), illuminating these collection's history and background, I examined the change of the significance of Chinese painting and calligraphy in Modern Japan and the West, also tried to point out some issues mentioned above. Less
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