2007 Fiscal Year Final Research Report Summary
A Study of Chinese Painting and Calligraphy Collection in Japan from late 19 to early 20 Century
| 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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| 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 |
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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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