In all corners of the ancient capitals of Japan, Tokyo, Kyoto, and Nara, there are many art treasures that have been passed down from China to Japan since ancient times. 2011 "Pen and Ink Spirit: The World of Chinese Calligraphy and Painting" Special Exhibition, 2013 "Shusheng Wang Xizhi" Special Exhibition, 2018 "Abe Fangjiro and Chinese Calligraphy and Painting" Special Exhibition, 2019 "Yan Zhenqing: Beyond Wang Xizhi's Famous Pen" Special Exhibition, 2020 "Wen Zhengming and His Times" exhibition, these exhibitions held in Japan have attracted a large number of Chinese painting and calligraphy lovers to watch. When people admire these precious works of calligraphy and painting, they can't help but ask: How many Chinese treasures are hidden in Japan? How did these calligraphy and paintings flow into Japan? Historically, during the Tang and Song dynasties, the Ming and Qing dynasties, and the late Qing Dynasty, there was a boom in the introduction of Chinese paintings and calligraphy into Japan. This article uses Dongbo as an example to talk about the history of Japanese collections of Chinese paintings and calligraphy and the stories behind them.
The Book and Painting magazine of Shanghai Calligraphy and Painting Publishing House recently introduced this.
Japan has a long history of collecting Chinese paintings and calligraphy, dating back to the Nara and Heian periods (8th-12th centuries). At that time, works brought back to Japan from China through the dispatch of Tang envoys, Tang monks, Song monks, and folk trade are now known as "Extreme Ancient Crossing" products. By the Kamakura period (13th-14th centuries), the establishment of the samurai regime, the zen buddhism, and then the Muromachi period, the Ashikaga shogunate (15th-16th centuries) actively collected Song and Yuan paintings, and because its villa villa (Ginkaku-ji Temple) was located in the Higashiyama area of Kyoto, it was named "Higashiyama Imperial Relic", which is now known as "Kodo" pins. After the Edo period (17th-19th centuries), through the only officially recognized port of Nagasaki, many Ming and Qing dynasty literati paintings were introduced to Japan and were called "Nakato" products. Around the time of the Xinhai Revolution (1911), personal collections in Beijing, Shanghai, Guangdong and other places began to flow out, and through the intermediaries of Luo Zhenyu and others, they were acquired by the emerging Chaebols of Japan, and these Chinese cultural relics were called "Xindu" products. These four stages of the dulaipin is the main body of Chinese painting and calligraphy appreciation in various eras in Japan, from the Japanese emperor, aristocratic class to the samurai class, and gradually expanded to the folk intellectuals, entrepreneurs, calligraphy and painting enthusiasts, etc., the scope of collection includes Buddhist scriptures, Chinese books, religious paintings, Zen paintings, Southern Song Dynasty court paintings, Zhejiang school, Ming and Qing literati paintings, and even modern Chinese paintings, etc., with a rich variety.
The collection of Chinese paintings and calligraphy at the Tokyo National Museum (hereinafter referred to as "Tohiro") can be said to be unique in the world museum world, reflecting the history of Chinese painting and calligraphy in Japan for more than 1,000 years. This article follows the historical context of Japanese Chinese painting and calligraphy appreciation, and attempts to introduce the historical significance of Toho's collection of Chinese paintings and calligraphy and the story behind it.
1. Extreme Gudu and Gudu Period - Nicknames, Reframed, and Cut of Works
Among Dongbo's Chinese paintings and calligraphy, the longest-standing "residents" of Japan should count three Tang Dynasty manuscripts from the 7th to the 8th centuries that have been identified as "national treasures" of Japan, namely, "Wang Boji, Vol. 29, 30th," "Jieshi Tune Youlan No. 5," and "Shishu New Book Volume VI." Japan's "national treasure" system began in 1897 (Meiji 30 years), according to the Japanese Cultural Property Protection Act, even if it is a very well-known masterpiece, a foreign work that has just been purchased will not be recognized as a subject of protection, and only works that have a profound impact on mainland (Japanese) culture can be recognized as "national treasures". All three are well qualified for national treasures, not only in China but also in rare manuscripts of the Tang Dynasty, which have been scattered, and all of which were transmitted to Japan before the Heian period. Interestingly, the Shishu New Book (later changed to "Yu") has the Zhu character "HuGu Stop Point", which is the punctuation mark when the Japanese interpret the Chinese language, which shows that this is not a calligraphy work for appreciation, but a book that really needs to be read at that time. From this, we can understand how the Japanese doctors (who specialize in interpreting ancient Chinese texts) at that time decomposed the Chinese language, read aloud, and interpreted sentences and sentences, so as to get a glimpse of the specific practices and sincere attitudes of "Chinese studies" at that time. These three pieces are all the only books in Hainei, and when the visiting books (searching for ancient books) in Japan at the end of the Qing Dynasty were very popular, Li Shuchang, the minister stationed in Japan, happened to encounter the only manuscript of the "Musical Notation" written by Qiu Gong, a famous pianist at the end of the Southern Dynasty, and was very happy and immediately included it in the "Guyi Series", Luo Zhenyu was also introduced by Naito Hunan and others, and saw the fragments of the "Wang Bo Collection", and later compiled a volume of "Prince AnJi Youwen". In the late 19th and early 20th centuries, Chinese intellectuals began to notice the significance of the cultural relics handed down in Japan and began to make up for the lost parts of each other.
Tang "New Book of WorldLy Sayings, Volume VI"
Japanese people like to give nicknames (inscriptions) to their cherished items. One piece of calligraphy that is loved to be called "Hai Drifting Yuanwu (なかれ圜悟)" is the only surviving inkblot of the famous Zen monk Yuan Wu Keqin (1063-1135) of the late Northern Song Dynasty. Legend has it that this work drifted in the sea to the coast of Satsuma Fangzu (now part of Kagoshima Prefecture), hence the name, and it is still accompanied by a paulownia box that is said to have been drifting in the sea. Later, after being donated to Daitoku-ji Temple in Kyoto, Matsue Domain Matsudaira Bumi (1751-1818) made a huge purchase of 2,500 taels of gold and an annual payment of 30 taels of rice (about the amount of rice eaten by adults in a year) to Daitoku-ji Temple, becoming the most important Chinese cultural relic in the family's collection. Ranking second in the Matsue Matsudaira family collection is an inkblot called "Tearing The Void Hall "Tearing The Void Hall" (破れ虚堂). This is the French of the Southern Song Dynasty Zen monk Xuantang Zhiyu (1185-1269) to the Japanese monk Wuxiang Jingzhao (1234-1306). After Entering the Song Dynasty, Wuxiang Jingzhao practiced under the door of Theoji, which he asked his teacher, who was more than eighty years old, to write French, and brought it back to Japan in 1265 when he returned to China, and after Wuxiang Jingzhao became the abbot of Kamakura Sekitoshi Temple. This title began in the fourteenth year of Kanei (1637), when the inkblot was collected by the kyoto merchant Daibunya Munakata, and one of his family's employees locked himself in a warehouse where calligraphy and paintings were stored one day, tore up the ink and committed suicide. However, there are now few traces of the cut. This is thanks to the re-framing of Otori Enoshu (1579-1647). Due to the collector's preference for the Furuda Oribe mounting style, after the destruction of the work, the Ohori Yuanshu Reframed, which inherited and developed the orbeau's aesthetic style, has been preserved to this day. Generally speaking, Japanese people do not like to write inscriptions or stamps directly on the screen, but write on the inside of the lid of the paulownia box where the calligraphy and paintings are stored, and they also like to preserve the original mounting when remounting. Mounting is a wordless inscription of the Japanese, which plays a role in showing that the work has been passed down.
Southern Song Kakudo Chihoho (Torn Kokudo)
Tomohori Kaido Hoso (Torn Kakudo)
The most famous works that symbolize the characteristics of Dongbo's collection should be liang kai's "Out of the Mountains, Shakya, Snow Scene" of the Southern Song Dynasty. It contains rare collection prints of Ashikaga Yoshimitsu (1358-1408), the third shogun of the Muromachi shogunate, and his son Ashikaga Yoshinori (1394-1441), and is also recorded in the Catalogue of Imperial Paintings, which records about 280 pieces of Chinese paintings collected by The Ashikaga shogun's family. At present, the authentic works of Liang Kai recognized by scholars are the middle one and the left one, while the right one is a supplement to the Yuan Dynasty. In China, these three paintings were not a group of works, but three independent paintings, but after the medium and left paintings arrived in Japan, in order to meet the habit of three pairs of Japanese interior decoration, it is possible that the Ashikaga generals specially sent people to Ming Dynasty China to find and buy works with the same style as the left one.
Southern Song Dynasty Liang Kai's "Out of the Mountains Shakya, Snow Scene" Three Pairs (Right, Southern Song Dynasty - Yuan, 13th-14th centuries)
At the same time, it can be seen that the General's Amizhong (art advisory group) combined paintings from different sources to create a new story of appreciation: the middle frame shows the distressed mentality of Shakya after eight years of asceticism and abandoning the asceticism when he first came out of the mountain; The quiet spiritual world after meditation and enlightenment is expressed in the quiet snow landscape of the left and right. It seems that the "montage" technique in modern art presents a new meaning by combining different scenery, which can be described as a feature of the Dongshan Imperial Collection, which is completely different from the extremely ancient Dupin era when the Tang envoys brought chang'an palace relics directly back to the post-simple preservation. At the time of the formation of the Dongshan Imperial Relic, in China, shortly after the death of the Yuan Sijia, literati art prevailed, but the Dongshan Imperial Relic rarely collected chinese literati paintings and calligraphy of the same era, and its collection objects were still mainly court paintings of the Southern Song Dynasty, professional painters of the Yuan Dynasty and Zen paintings. Since the end of the 14th century, Japan has had its own focus on Chinese painting collections, with distinctive characteristics.
The Muromachi shogunate was actively involved in trade with the Ming Dynasty, and the eighth shogun Ashikaga Yoshimasa (1436-1490) represented the pinnacle of Muromachi culture. The famous Longquan kiln "Horse Locust Trip" celadon bowl was sent back to Daming, but because it could not find a substitute, it was repaired with curium nails and sent back to Japan, which also occurred during this period. At this time, there are two common characteristics of collection: one is to reframe the work, and the other is to transform it such as cutting. Liang Kai's "Out of the Mountains Shakya and Snow Scene" are all framed with cyanotic double tangles of branches, which should have been reframed by the general's family after the work arrived in Japan. Different from the aesthetic standards of the Chinese literati to frame smoothly and cleanly, this work uses gorgeous ornate brocade woven at the edges, which is probably related to the use of shoji paper windows in Japanese interior space. On a piece of "crotch" (sleeveless tunic) using the same kind of Chinese early Ming brocade, there is a dedication of Yonghe Four Years (1378), from which it can be seen that the "Out of the Mountains Shakya, Snow Scene" should have been reframed later (1485). The re-framed Chinese paintings are considered to be an act of demonstrating the cultural authority of the Ashikaga shoguns. The mounting method of this type of Chinese painting, as a symbol of "ancient dupin" or "Dongshan Imperial Relic", has been imitated by future generations. Regarding the adaptation of the work such as cropping, an example can be given to Ma Yuan's "Solo Fishing Map of the Han River". This work can be described as an important collection representing the characteristics of this era, and in the past scholars believed that the work was an important witness to the composition of the corners of the Southern Song Dynasty, showing the existence of fishermen in a lonely space. However, when the restoration was carried out in 2008, it was found that there were traces of cropping in two-thirds of the picture, which meant that the original picture was larger, and it was probably cut by the Japanese around the 15th century, and then the current composition was created. The material of the painting and the author of the painting are undoubtedly Chinese, but the most important composition of this work to express the meaning of the painting may have been transformed by the Japanese at that time, which can be said to be a work of "Sino-Japanese cooperation". After the rise of modern nationalism, works of art were also divided by nationality, and China and Japan began to write different "national art histories." However, there are many works that have survived in Japan or in other works that exist outside the region, and there are many works that are difficult to determine the nationality, and the existence of these "mixed-race" works may tell us about the history of exchanges in East Asia and present us with a richer and more three-dimensional historical outlook.
(Biography) Southern Song Dynasty Ma Yuan's "Solo Fishing Map of the Han River"
Edo Period, Yonshin Kano, "Fishing Alone in the Han River"
2. Zhongdu Pin - recording, facsimile, reproduction of works
After the Onin Rebellion (1467-1477), the power of the Ashikaga shogun family began to decline, and in the nearly 150 years of the Sengoku period in Japan, The Chinese paintings, inkblots, ceramics, and bronzes collected by the Ashikaga shogun's family and the major monasteries in Kyoto began to disperse throughout the country. For example, Yan Hui's "Hanshan Collection Map", it is said that it was originally a Higashiyama Imperial Relic, but later fell into the hands of Oda Nobunaga (1534-1582). Oda Nobunaga fought a bloody war with the Pure Land Shinmune Hongan-ji Temple, which was a huge power at that time, and after making peace in 1580, it was donated to Honganji Temple as a symbol of peace. Perhaps the enlightened Hanshan, from the inside of the picture, has been watching the Japanese outside the painting fight and kill, witnessing the impermanence of the world, and is "laughing". In 1603, the Tokugawa shogunate was established, and Yoshibun Yanwu, about 300 local daimyōs replaced the Ashikaga shogunate in Kyoto and became the new protagonist of the collection. During this period, in addition to artistic value, Chinese painting also became a symbol of martial politics and culture, played a new role, and began to circulate in society.
(Biography) Yuan Yanhui's "Hanshan Pick-up Map"
Southern Song Dynasty Liang Kai "Li Bai Yin XingTu"
Triple wooden box and outerwear (Indian more yarn Chintz) "Asano box"
Liang Kai's Li Bai Yin Xing Tu belongs to the collection of the Matsudaira family of the Daimyo of Matsue Domain (present-day Shimane Prefecture), with a paper sleeve of Ishishu washi paper (a famous paper produced by the Matsue Domain). In fact, why and when the theme of this painting began to be called "Li Bai Yinxing" is still unknown, but the "box book" on the wooden box of the Matsudaira family already has this name. Perhaps the Japanese connoisseurs of the 17th century saw the subtle three-dimensional expression of the Southern Song Dynasty's reduced brush body, and at the same time felt the glimmer of the moon in the painting, so they thought of the tang Dynasty Li Bai's poem "Quiet Night Thoughts" and took this name. As mentioned earlier, Ma Yuan's "Solo Fishing Map of the Han River", which was once the collection of the Asano family of the Daimyo clan of Yizhou Domain (now Hiroshima Prefecture), still has a complete preservation of the triple wooden boxes customized by the past, and each collector will add a new larger wooden box on the outside of the original box. Among them, the ornate wooden box wrapped in Indian printed cotton cloth (C h i n t z) is the most eye-catching, known as the "Asano Box", which can be regarded as a collection symbol of the famous Asano family. Li Di's "Red and White Furong Diagram" should be one of the most popular works in Dongbo's Collection of Chinese Painting and Calligraphy, which shows the color form of drunken hibiscus from white to red and white with time from morning to noon, vivid, like a dream, which should be a masterpiece of Southern Song Dynasty court painting. Due to the existence of Japanese 16th-century facsimiles (formerly known as "Furong Tu", Daitoku-ji Makotoku-an), it was learned that it had been introduced to Japan at about this time, and recently there was a newly discovered documentary material, which originally belonged to the old collection of the Otobe family of the Matsue clan (the highest position in the samurai family group), and was originally collected in the same Song and Yuan albums as Mao Yi's "Xuancao Wandering Dog Marshmallow Traveling Cat Diagram" (Yamatoku Bunka Museum), which was framed into a vertical axis in the 19th century, and also equipped with a gorgeous outer box of "Otobe Shiri" (Otobe Special). It can be seen that in Japan during the Edo period, a large number of Chinese paintings were circulating in a wide range from Edo (Tokyo) to local masters. If you look at historical books such as the Tokugawa Chronicles, you can see that at the time of weddings, promotions, births, and funerals, most of the samurai class used Japanese swords or Chinese paintings as gifts, while the gifts between women were mainly items related to Japanese kana culture such as the Tale of Genji. Opinions on why the Ashikaga shoguns attached great importance to the collection of Chinese paintings in the first place are inconclusive, but judging from the political situation at the time, it may be related to the mentality of wanting to confront the court culture of the same heavenly emperor. Following the example of the Emperor of the Song Dynasty, the Ashikaga shogunate promoted Zen Buddhism and the political ideals of the scholars, and Zhu Zixue and Chinese poetry became indispensable education for the samurai class. If japanese court culture, which is dominated by kana and songs, is regarded as the extreme of Japanese culture, samurai culture, which promotes Chinese and Chinese culture, should belong to the other extreme. Chinese artifacts (especially Higashiyama Imperial Relics) may have had a special significance, and the samurai class of the Edo period, in order to express their legitimacy as rulers, and at the same time to clarify that their family had a high morality of samurai culture and scholar culture since the Ashikaga shogun's family, they had to collect Chinese cultural relics in any case.
Southern Song Dynasty Li Di"Red and White Hibiscus Figure of White Hibiscus"
So, who will identify and guarantee the value of Chinese paintings with such symbolic significance of cultural authority? Whether it is collected or given away, if these Chinese cultural relics are fake, they will definitely damage the family's reputation. What needs to be discussed here is the Kano school, a specialized family of painters that has lasted for about three hundred years, and one of their important missions is inseparable from Chinese painting. There were four branches of the Kano school, the largest of which was the Tokugawa shogunate's most important group of imperial painters, the Kinumaki-cho Kano family. The head of his family lived in Edo, and each generation received about 300 painters and children from various clans across the country. Successive generations of painting families of the local Huntingo faction have come to the main residence of the Egano family, and after practicing painting for about ten or twenty years, they have returned to each domain. This system of official painting continued until the meiji Restoration (1868) when the school of fine arts was founded. In addition to their own painting career and work for generals or lords of the clan, the Hunting School also had the official privilege of identifying Chinese paintings. At present, Dongbo has about 6,000 facsimiles of paintings produced by the Kano family in Mubangcho, of which about 1,200 are Chinese paintings, most of which are ancient products since the inheritance of Dongshan Imperial Relics, mainly Song and Yuan paintings, and very few Yuan, Ming, and Qing literati paintings that are valued in China. At that time, in the absence of plate data such as the complete works of art, the Kano school used the huge facsimiles collected over the generations to immediately determine the age of the work and its similar style, and was able to issue "Tian Tian (Ji Za)" (appraisal book). The value of Chinese painting, which is indispensable in the culture of martial arts gifts, is guaranteed, and it can be seen from this that the facsimile production of the Kano school accumulated over more than three hundred years is not simply a pursuit of artistry, but plays a decisive role in judging the value of Chinese paintings and calligraphy (Tang objects) circulating in Japanese society, that is, the unique hierarchical system of the Edo period, which peaked on the "Higashiyama Imperial Relic" during the 250 years, was able to maintain its cultural authority due to the identification activities of the Kano school.
Southern Song Dynasty Zhao Chang's "Sketch of Grass and Bamboo"
Isari Sasayama, Kusatake(Kano Iemoto, Kobiki-cho)
Edo period Eishin Kano, "Diagram of Grass Flowers and Insects"
For example, Li Di's Red and White Hibiscus Diagram is accompanied by a "Tim Tie" (1870) by Masanobu Kano (1823-1879), as well as a facsimile of the Kano school. For another example, Zhao Chang's "Grass and Bamboo Diagram" is an early grass insect diagram of the Southern Song Dynasty, which was originally a Higashiyama imperial relic hidden by ashikaga Yoshinori, and was accompanied by a gorgeous Indian printed cotton cloth packaging, that is, the above-mentioned "Asano Box", indicating that it was an important cultural relic of the Asano family, which was called "Asano Family's Curved Bamboo", which shows that it already had a considerable reputation at that time. It is accompanied not only by the "Extreme Zha" of Kano Shonobu (1607-1650), but also in the facsimile of The Kano family in Higashi-Bomubang-cho, the facsimile of Sasaki Ichinari (Eihiro, 1782-1814). This facsimile was once preserved in the Kano family storehouse (Stone Collection) in Kibancho, and although the disciples who came to Edo from all over the country to learn painting could not see the original handwriting of the Asano family's secret collection, they could learn the specific appearance of the early Chinese grass worm map through the facsimile. Needless to say, "Quzhu" symbolizes the indomitable spirit of the literati in Chinese culture, and it is interesting that the author of the facsimile, Sasaki Isari, studied the eighth generation of the Kano school Rongxin (1775-1828), who once inserted part of Zhao Chang's "Sketch of Grass and Bamboo" in his paintings, accompanied by other Changzhou grass worm diagrams, combined into a painting. This is not simply copying and learning, but connoisseurs need to be aware of the existence of classic paintings before they can play with the fun of ancient paintings "collage". In the 19th century, many such works using Chinese painting meant that the images of Chinese painting had become popular to a certain extent, not the secrets of the generals and daimyo, but through the large circulation of facsimiles within the Kano school throughout the country, they became familiar images for most people.
Edo Period Watanabe Hasayama "Ichikawa Rice Temple"
In addition to the establishment of Chinese painting collections by local daimyōs following the example of General Ashikaga's family, the important collection activities of folk intellectuals during this period were important. One of its representative figures was the famous sinologist and calligrapher ShiheMi'an (1779-1858), who had more than 5,000 disciples throughout the country, and his style of writing was quite popular at that time. What is important is that his collection concept is very different from that of the daimyo, and he tried his best to collect the literati calligraphy and paintings of the Ming and Qing dynasties, believing that the door stream from the Yuan Sijia and the Wumen school to Dong Qichang was the orthodoxy of Chinese painting and calligraphy, and ignored the unique Japanese value system such as gudu pins. In 1803, at the age of 25, he traveled to Nagasaki and had exchanges with the Qing Dynasty people who brought Nagasaki from Jiangsu and Zhejiang, directly purchasing Chinese books, expanded books, calligraphy and paintings. In order to commemorate his 70th birthday, Shihe Mi'an published the "Catalogue of The Calligraphy and Painting Studio of Xiaoshan Lintang" (1848), sorting out more than 260 pieces of Chinese calligraphy and paintings, bronzes, stationery, and ancient artifacts collected by his family, with thumbnails, outlines of inscriptions, and articles on the authors of works and the origin of collections. Mi An's lifelong study of Chinese painting and calligraphy, sometimes copying or double hooking to make exactly the same reproduction of the original, shows that he carefully studied Chinese painting and calligraphy, and has a high degree of writing skills. Interestingly, after the Meiji Restoration, in the ninth year of Meiji (1876), his grandson Kawasandei donated his family collection of calligraphy and paintings to the Japanese Imperial Family, and in the fifteenth year of Meiji (1882), the original museum designed by the British architect Josiah Conder (1852-1920) was established in the current place of Ueno Park, and then transferred to this place and has been kept to this day. Later, in the 33rd year of Meiji (1900), Yone-an's eldest son, Kawa-san-kan, donated the old collection of Yone-an to the Imperial Museum in Tokyo, becoming the first collection of Chinese paintings and calligraphy.
Ming Chen Lu "New Shoots with Moon Chart"
Ichikawa Mi-an's "New Shoots with Moon Map", collected in the "Catalogue of the Calligraphy and Painting Studio of Koyama Lintang" (1848)
There are about 80 pieces of Chinese paintings and calligraphy in the old collection of Ichikawa Mi-an in Toho, and it is one of the most perfectly preserved collections of Japanese folk collections of the 19th century that we can see today. It can be called "the time capsule of Mi-an", and its significance is twofold: First, it can know the specific appearance of Chinese painting and calligraphy circulating in Sino-Japanese exchanges in the 19th century. Although there are many forgeries, these items can be regarded as the result of the sale and purchase of local merchants in Zhejiang and Suzhou at that time, reflecting the reality of the calligraphy and painting market and material culture in the southeast coastal area at that time. Second, unlike the Palace Museum, the Louvre Museum, and the Prado Museum, the Tokyo National Museum, which inherited the treasures of previous emperors and became a national museum after the revolution, but was an industrial museum when it was established in 1872 (Meiji 5), and had nothing to do with the imperial or shogun's historical collections, and later gradually strengthened its nature as an art and history museum, and formed the current collection through the kind donations of collectors. The collection of the Yonean family and the donation activities of their survivors can really be described as a bridge from the Edo period to modern civil society in Japan, which determines the direction of Tohiro's Asian art collection.
3. New Ferry Products - Museums, Cultural Properties, and Chinese Studies
In 1910, Professors Naito Hunan and Naoki Kano of Kyoto Imperial University, together with lecturers Kenzo Tomioka (Tomioka Tetsusaiko) and others, visited The houses of Duanfang and others for the first time, saw the calligraphy and painting collection of the Beijing Flag People, and were very surprised to find a collection system completely different from the ancient toduka and Nakato products in Japan in the past. In 1917, a flood occurred in North China, and some collectors in Beijing held an exhibition of Calligraphy and Painting of the Beijing Division for the relief of the Tianjin flood. Naito and the others learned that Yan Jingxian, Duan fang, Prince Yi, and others were going to sell their collection of calligraphy and paintings. After returning to China, in order to "open the eyes of the Japanese people to the real appreciation of Chinese paintings and calligraphy", Naito Hunan actively recommended the purchase of those Chinese paintings and calligraphy to industrialists in the Kansai region. At present, Li Cheng's "Qiao Song PingYuan Tu" (Prince Yi's old collection) in Chenghuaitang, Dong Yuan's "Hanlin Chongting Tu" (Completed Yan Jingxian Old Collection) and other famous works of major art museums in the Kansai region are basically invited to Japan at this time. After the Xinhai Revolution in 1911, Luo Zhenyu and others went into exile in Japan, living in Kyoto for eight years, and brought several boxes of Chinese paintings and calligraphy, gold stones, etc. In exchange for living expenses, he sold the collection to the Japanese. When in Japan, Luo Zhenyu also carried out the identification of Chinese paintings and calligraphy and the work of writing inscriptions, such as Wang Fu's "Autumn Forest Hermitage" collected by Kong Guangtao in Guangdong, after the inscription of Wu Changshuo in the seventh year of the Republic of China (1915), and Luo Zhenyu in the sixth year of Taisho (1917) re-inscription in "Haidong Yuju" (Kyoto); Similarly, Yamamoto's (1870-1937) Old Collection of Wen Boren's "Forty Thousand Landscapes and Water Maps" also has Luo Zhenyu's inscription, which is included in his collection catalog "Chenghuaitang Calligraphy and Painting Catalog" (1931). Such an orthodox literati-thirsty style masterpiece, although the name of Ichikawa Mi-an in the 19th century may be known in the book, it is absolutely impossible to find the real thing in Nagasaki. Only after more than a decade after the Xinhai Revolution could we finally see the orthodox Chinese literati paintings and calligraphy in Japan.
Ming Wang Jianzhong "Cursive Five-Word Poetry Axis" (left); Edo Period Ichikawa Mi-an "Cursive Five-Word Poetry Axis" (right)
Ming Wang Fu "Qiulin Hermitage Map"
Ming Wen Boren's "Forty Thousand Landscapes and Rivers"
From the end of Edo to the beginning of the Meiji period, modern Western-style education was just beginning, and most Japanese people were still educated in rural sinology, which was undoubtedly an important foundation for their formation of personality through the world. Therefore, many Japanese industrialists, politicians, scholars, calligraphers and painters like to actively make friends with Chinese intellectuals such as Luo Zhenyu, and Prime Minister Inuyasha (1855-1932) is also one of them. He often interacted with Naito Hunan and Luo Zhenyu, loved Chinese painting and calligraphy, and had a deep cultivation of literature and history. Respecting the upbringing of Chinese intellectuals, he especially liked the calligraphy and paintings of loyal subjects in the late Ming and early Qing dynasties, such as Ni Yuanlu's "Book of Calligraphy and Paintings" with inscriptions written by him, praising his noble personality. From this point of view, the collection of Chinese paintings and calligraphy in Japanese society in the early 20th century is different from the collection of Chinese paintings and calligraphy in European and American individuals or art museums that emerged in the same period. The latter is collected from the perspective of "the other", "different cultures" or "works of art", the former is still based on sinology, and is the result of direct interaction with Chinese intellectuals, and is also related to the vision of classical Chinese morality and ethics. This trend of Chinese painting and calligraphy collections continued until the late 1920s, when many research plates and collections of Chinese art were published until private art museums such as Fujii Arikan (Kyoto, 1926) were opened. It is worth noting that Western art collections in Japan also sprang up at the same time, such as Matsukata Kojiro 's (1865-1950) collection of Western Impressionist works, which also occurred in the 1910s and 20s (the foundation of the current Ueno Park National Museum of Western Art), and the Ohara Museum of Art in Okayama opened in 1930. In fact, whether it is collecting Chinese art or Western art, the motivations of the two are the same: in the confusion of the establishment of modern society, people who are eager for the concept of human life, some go to ancient China to find their ideals, and some go to modern Western society to find answers.
Southern Song Dynasty "Xiaoxiang Lying Tour Picture Scroll" (partial)
After the Great Kanto Earthquake of 1923, Japan's economy deteriorated. In 1932, the leader of this Chinese calligraphy and painting hobby, Yang Yi, was assassinated, militarism swept through the whole society, and the Chinese painting and calligraphy fever also declined day by day. The most important collection during this period was the Xiaoxiang Lying Tour Scroll, which was once one of the "Four Beautiful Tools" loved by the Qianlong Emperor. The work has a light and elegant ink color unique to the Southern Song Dynasty paintings, ethereal and transparent, which can be said to be in the same vein as the Zen paintings of Muxi (Fachang), and is an extremely important painting. Harada Goroku (1858-1938), a famous art dealer and owner of Bowen Hall, recalls that he became acquainted with Chen Baochen, Guo Baochang and many other high-ranking Qing court officials in Beijing, and purchased masterpieces such as Su Shi's "Cold Food Posters" (collected by the National Palace Museum in Taipei) and "Xiaoxiang Lying Tour Scroll", and later sold two of them to the Japanese industrialist, politician, and calligrapher Kikuchi Jin (67-1935). In the inscription, Naito Hunan wrote that during the Great Kanto Earthquake, kikuchi's family suffered a fire, and he struggled to rescue the "Cold Food Post" and the "Xiaoxiang Lying Tour Picture Scroll". The last collector in the Japanese Chinese painting and calligraphy collection circle at the beginning of the 20th century was Mr. Kikujiro Takashima (1875-1969), who served as the president of the Prince PaperMaker. His collection was donated to the Tokyo National Museum in 1965. It is worth noting that at that time, the people who actively purchased Chinese paintings and calligraphy were all folk enthusiasts, unlike the Nelson-Atkins Museum of Art in the United States in the 1930s, which was funded by the museum to buy Chinese cultural relics, and Japan's national museums first had to protect the cultural properties handed down in Japan, and they had made every effort to buy these new products.
Tokyo Imperial Museum Old Building (Kanto Earthquake Damage 1923)
The Fuxing Main Building (Architectural Bounty Design Atlas, Watanabe Hitahara Case) was completed in 1938
In 1923, the Great Kanto Earthquake struck, and the museum building, which had been in use for about 40 years, was severely damaged, but through national fundraising, it was completed in 1938 as the "Fuxing Main Building" that we can see now. When the war of aggression against China began in 1937, we have to talk about wartime and museums. Before the earthquake, in addition to the Japanese history and archaeology exhibition hall of the main hall, the Tokyo Imperial Museum also had an exhibition hall called "Trophy Exhibition Hall" in front of the main museum, which displayed gold and silver treasures that we imagined, most of which were folk tools, daily necessities, grass and wood specimens collected by Japanese soldiers in Southeast Asia. It is a fact that during World War II, those exhibits were displayed to glorify the glory of the Empire, and from today's point of view, they are all in the wrong way. Exhibitions are a way of telling history, even the same object can be given any context of historical view, we need to think repeatedly about what is the lofty mission of the museum. In 1941, Japan went to war with the United States, and due to the urgency of the war situation, among the more than 80,000 museum collections, about 60,000 important art collections such as treasures were donated by Horyuji Temple, and began to be evacuated to local warehouses in Nara, Fukushima, and Iwate Prefectures, where librarians also escorted and lived there to protect cultural relics. U.S. air raids burned down major cities across the country, and on March 10, 1945, the museum closed. After the defeat, Kyoto, Nara, and the area around Ueno Park (including the University of Tokyo) survived, and the artifacts were gradually transported back to Ueno, finally turning the page of the museum's new life.
Tokyo Imperial Museum Revival Wing Zanhui Gilders List
Evacuation of cultural relics from the Imperial Museum, Tokyo (1945, Bow Village, Kuwata-gun, Kyoto)
In 1947, after the defeat of showa, the Imperial Museum was renamed the National Museum and was transferred from the Miyauchi Province to the Ministry of Education, Culture, Sports, Science and Technology. This means that the museum industry is not for the service of the country, but has become an educational institution in a democratic country, and the collection is not the property of the Heavenly Royal Family, but the common property of art lovers all over the world. It is particularly noteworthy during this period that after the establishment of the Fuxing Main Museum, the museum began to recruit researchers who graduated from university-related disciplines such as the Lecture on Art History at Tokyo Imperial University, which was founded in 1914. In the 1930s, students who studied in China or went to China to investigate, such as Nishikawa Ning (History of Chinese Calligraphy, 1902-1989), Sugimura Isaku (History of Chinese Art, 1900-1978), Fujio Koyama (History of Chinese Ceramics, 1900-1975) and others returned to China one after another, entering the Dongbo work, laying a solid foundation for post-war Chinese studies in Dongbo. Younger scholars than them are the generation facing national student conscription, such as Suzuki Kei (History of Chinese Painting, 1920-2007), who was conscripted in 1944 after studying at the university for two years, went to south China for military service, was demobilized in 1946 and returned to his hometown to cultivate the fields, and only in 1949 was hired by the National Museum to begin his academic career. Japanese militaristic imperialism hindered the development of the domestic humanities, and fewer scholars studied China in the 1930s and 1940s. After the war, in the 39th year of Showa (1964), the Horyu-ji Treasure Museum was opened, and in the 43rd year of Showa (1968), the "Toyokan" theme museum designed by Taniguchi Yoshiro (1904-1979) was opened, which provided young scholars with new opportunities and positions to study Asian art.
Qing Yu Zhiding "Seongnam Yaji Picture Scroll"
Wu Changshuo wrote a book to Huai An
Although there are Oriental Art Museums in Europe and the United States, but not in Asia, this Oriental Art Museum, which was founded for the first time in Asia, is of great significance, and the Oriental Museum faces new challenges in how Asians can display their culture. Prior to this, in Japan, there was no distinction between Chinese painting and Japanese painting research, and japanese ink painting researchers also served as researchers of Chinese painting, but after the opening of the Toyokan, researchers who received new education after the war, such as Satoro Kailao (History of Chinese Painting), Hiroshi Kakui (History of Chinese Calligraphy), Yasuhiro Nishioka (History of Chinese Crafts), and Minato Nobuyuki (History of Chinese Painting), received special positions in Chinese art and began to struggle in the new department. At the same time, for the Chinese painting and calligraphy theme exhibition hall of the Toyokan, they began to collect Chinese art intensively. In addition to the above-mentioned old collection of Theagawa Mi'an, there were only a few Chinese paintings and calligraphy in the collection at that time, about one hundred and seventy pieces. Fortunately, in 1965, before the opening of the museum, Mr. Kikujiro Takashima collected 277 pieces of Chinese calligraphy and paintings and Tsukishi Takuben for many years, and later donated 68 of them to the Tokyo National Museum in accordance with his will. As an industrialist, Mr. Takashima's collection concept and direction are consistent with the collection of new totoppies, and he also has a handwritten record of the collection and evaluation of the works in detail, from which we can also see his various studies and feelings about the collection. Among them, Wu Bingben's "Dingwu Lanting Preface", Zhao Mengfu's "Lanting Thirteen Treks" and other Song Tuo's quality is extremely high and prestigious; Yu Zhiding's "Chengnan Yaji Atlas" depicts the scene of Chen Tingjing's five friends in the twenty-first year of the Kangxi Dynasty (1682) at the Chengnan Mountain Villa, and is one of the works brought by Lian Quan (1863-1932) when he went to Japan. The axis of Wu Changshuo's book "Huai'an" is introduced by Bandong Guanshan (1887-1966), and Wu Changshuo's work for Mr. Takashima's inscription can be described as a witness to the Sino-Japanese-Chinese exchange between China and Japan.
The opening of the Toyokan Has attracted widespread attention and active donations from good people from all walks of life. For example, Mr. Lin Zongyi (Dingyuantang, 1923-2006), who was born in Taiwan and a Japanese citizen in his later years, has collected calligraphy and paintings from the Ming and Qing dynasties to modern times, which are now stored in the National Palace Museum in Taipei, the Kubo Memorial Art Museum in Hequan City, and the Dongbo Museum. In 1983, 1990, 2001 and 2003, a total of 220 works were donated to Dongbo, and Dongbo has since acquired a rich collection of modern Chinese paintings and calligraphy. Subsequently, Mr. Aoyama Sugiyu (1912-1993), an outstanding modern calligrapher, donated about 100 pieces of Chinese paintings and calligraphy to Dongbo. He studied under Nishikawa Ning, blending classical and modern styles, and had a profound influence on the Japanese book scene in the 20th century, and at the same time he attached great importance to Sino-Japanese exchanges and visited China many times. His donated works compensated for Dongbo's lack of calligraphy and painting collection in the Ming and Qing dynasties. In addition, Mr. Minsuke Yokogawa (1864-1945) donated more than 1,100 pieces of Chinese ceramics since 1932, including ancient todoi products inherited from Japan and newly unearthed new ferries in China, and the seal engraver Mr. Kobayashi Doru (1916-2007) donated 423 pieces of his collection of printed scores to Tohiro. These donations have given ordinary visitors the opportunity to observe and appreciate the charm of Chinese cultural relics.
Ming Wu Bin's "Xishan Dust Map"
Room 8, Dongbo Oriental Pavilion, Chinese Calligraphy and Painting Room
In the thirty years after the founding of the People's Republic of China in 1949, the Japanese had almost no opportunity to study in Chinese mainland, until 1972, when diplomatic relations between China and Japan were normalized, and from the 1980s onwards, there were exchange programs for graduate students, such as Mr. Toyonobu Gu (Chinese Archaeology), who was one of the first Batch of Japanese students to study at Peking University at public expense. In the more than three decades of their service, many important special exhibitions on Chinese cultural relics have been prepared. It is worth noting that under the frequent exchange of personnel, the Chinese cultural relics collected by Japan have also begun to go out of Japan and be exhibited in China. For example, the "Sino-Japanese Calligraphy Treasures Exhibition" held by the Shanghai Museum in 2006, the "Millennium Danqing: Japanese Chinese Collection of Tang, Song and Yuan Painting Treasures Exhibition" held in 2010, and the important works of Chinese calligraphy and painting in the Dongbo Museum have almost all appeared in China, which is really very happy. Since 2009, the Oriental Pavilion has been closed for renovation, and reopened in 2013, the design of the display cabinets has been renewed, with the theme of "Asian Culture Journey", which has included carvings, paintings, handicrafts, archaeology, fabrics, etc. from Egypt, India, China, South Korea, Central Asia, Southeast Asia and other countries and regions, and opened an exhibition hall reflecting multi-Asian cultural exchanges. Of the approximately 110,000 works in Toho's collection, the Toyokan has more than 20,000 works. Although half of the Toyokokan is a collection of Chinese objects, the direction of the exhibition in the 21st century should be to show the connection between China and Japan, South Korea, Southeast Asia and other places in the concept of multicultural exchange in the world, rather than adopting the one-country exhibition method of the past. The challenge of the Toyokokan exhibition is to formulate a blueprint for the future display of Asian culture, so that the audience can imagine the past and future of Asian cultural exchange through such a display, and everyone is very welcome to visit the Toyokan.
Conclusion Exhibition, Restoration, The Future of Asian Exchange
At present, the collection of Chinese paintings in the Dongbo Museum has increased to about 900 pieces, and the number of Chinese calligraphy and Tuoben is about 1,700 pieces. Although it is the largest collection in Japan, compared with the Palace Museum and the Shanghai Museum, the quality and quantity of its collections are not the same. However, Tohiro's collection can be said to be very local, reflecting Japan's love of Chinese painting and calligraphy for thousands of years, which can be described as a treasure of Toei. In addition, there are "sustenances" from private individuals and monasteries in Various Places. Japan implements a "sustenance system" for cultural relics, that is, in order to avoid various disasters, theft, mold and other risks, important works can be entrusted to local museums for a long time. Through this system, the audience can see the treasures hidden in the monastery, collectors can rest assured, and researchers can also carefully study the works. For example, the Southern Song Dynasty's "Thousand Hands Kannon Diagram" (Gifu Yongbao Temple), Zhang Jizhi's "Zen Temple Forehead Character Chestnut Sandalwood" (Kyoto Tofuku-ji Temple), etc., have long been placed in the Toyokokan and sometimes exhibited in the exhibition hall. Mr. Hashimoto Sueyoshi (1902-1991) collected the works of unorthodox painters such as the Zhejiang school, Wu Bin and Lan Ying in the late Ming and early Qing dynasties, as well as modern and contemporary paintings. In his home in Takagashi City, Osaka, he often gave young researchers a view of paintings and discussed them, and trained scholars at home and abroad, such as Takaju Han and Kohara Hironobu, known as "Hashimoto University". At present, Mr. Hashimoto's more than 900 works with the personal characteristics of collectors are also pinned on Tohiro and continue to be studied by researchers at home and abroad.
Southern Song Dynasty "Thousand Hands Guanyin Diagram"
Finally, I would like to introduce the problem of museums and cultural relics restoration. Compared to the eye-catching exhibitions, the restoration work is relatively boring, but it is needless to say that it is one of the most important tasks of the museum. Dongbo ensures the budget every year to carry out the restoration work. At the "Exhibition on preservation and repair of the tokyo national museum collection" held every March, its results are displayed and shared with the public. When carrying out restoration, museum researchers and conservators will spend a long time discussing the specific methods and concepts of restoration. At present, the concept of restoration in Japan still tries to retain the original material information, such as the "Xiaoxiang Lying Tour Picture Scroll" (restored from 1989 to 1990) When examining the materials, it was found that the picture used bamboo paper, and the back of the heart paper (life paper) also used bamboo paper. Generally speaking, the traditional Japanese mounted heart paper uses thinner and stronger Mino paper that is different from the painting heart, but for some reason, the Qing Palace mounting masters use bamboo paper of the same material as the painting heart. Therefore, this restoration also specially customized bamboo paper to re-drag, retaining the original mounting of the Qing Palace, although the restoration work was carried out in Japan, but there is absolutely no trace of Japanese restoration on the surface. The Xiaoxiang Lying Tour Scroll was born in the humid Jiangnan, reframed in the dry Beijing court, and restored in Japan in the 20th century. Whether the restoration method we have adopted is correct or not, it will not be known until a hundred years later to see the state of the cultural relics. In addition, when restoration, it is often found that the silk book has a contrast method, and when restoring cultural relics before the 1960s, there is no habit of making specific records, so such as Li Di's "Red and White Hibiscus Figure" (restored in 1963), it is said that there is a contrast, but because no photos are left, it is difficult to conclude that it has a backing from a strict academic standpoint. At present, the restoration of the museum stipulates that detailed restoration reports must be published, such as Liang Kai's "Shakya Tu of the Mountain" (with the repair inscriptions of 1485, 1680, and 1831, restored from 1995 to 1996), and it is determined that the back is used to contrast the lead and white, and even on the back of the cold tree of the "Snow Scene", it is found that the Japanese in later generations used ink color to contrast. Ming Dynasty court painter Zhou Quan's "Lion Figure" (restored from 2008 to 2010) large banner, painting the lion's body part of the silk back all have lead white back, these are the precious materials when studying ancient paintings in the future. China, Japan, and The Republic of Korea, which have a large number of scroll cultural heritages, are facing difficulties in restoration, such as the lack of materials such as mounting and paper materials, and hope that in the future, we will continue to enhance exchanges on these aspects, actively share results, and promote joint research to solve problems.
"Xiaoxiang Lying Tour Picture Scroll" (after restoration) Holding hands part, Qing Palace mounting
Ming Zhouquan's "Lion Diagram" is contrasted on the front and back
The Tokyo National Museum is now fully implementing the interpretation of all exhibits, and the inside and outside of the museum are marked with multilingual introductions in four languages: Chinese, Korean, Japanese, and English, so as to welcome and facilitate foreign friends. Dongbo exhibition is quite frequent, there is a strict exhibition time limit, painting exhibition 6 weeks off for a year and a half, calligraphy exhibition for 12 weeks off for a year, so the four seasons of seasonal exhibition of different works, such as in the Toyokokan Chinese Painting and Calligraphy Exhibition Hall, eight sessions of different themes of the exhibition every year, perhaps readers come to Tokyo, may not be able to see the works you want to see. If you want to choose an issue, it is recommended to come to Japan to see the exhibition during the special exhibition of "Essence of Chinese Calligraphy and Painting" in September and October. According to an interview with Mr. Minato Nobuyuki, this regular exhibition is a tradition that has been going on since more than 30 years ago to facilitate overseas friends to come to Japan to see the exhibition. Divided into two grades, it brings together the treasures of the Song, Yuan, Ming, and Qing dynasties, including famous products from various monasteries and personal sustenance, which are presented in one hall and are very spectacular. At present, in the face of the epidemic, it is not possible to travel freely, and the museum strives to build an online public collection, and the comprehensive search website (ColBase https://colbase.nich.go.jp/) for the collections of the four national museums in Japan is not yet available, but although it does not have complete images of the works, it is increasing every year. Search for portraits on the official website of the Tokyo National Museum (https://webarchives.tnm. jp/imgsearch/) also provides many images of related works, especially important treasures on e national treasures (https://emuseum.nich.go.jp/), which can be seen in very clear high-definition plates. Almost all of the images used in this article are downloaded from this web page.
Although it has been almost five years since I left the post of Dongbo Chinese Painting Researcher, I was taught by the guidance of the museum's predecessor librarians during my tenure, and through exchanges with museums across China, especially from the "thing" itself, I learned a lot of things, and it should be said that it was the happiest time in my life. The writing of this article should probably be given to the young and excellent researchers who succeeded me, but I wanted to write it too much, and I wanted to share with my Chinese friends the new vision I had gained from the Dongbo collection and repay it. This article may live up to the expectations of Chinese readers, not discussing the history of Chinese painting and calligraphy when it was born in Mainland China, but rather introducing the history of how Chinese painting and calligraphy were revered, preserved and restored after they arrived in Japan, and how they were appreciated by collectors. If we can put Chinese cultural relics in a pluralistic world and think from another perspective, we may be able to re-recognize the charm of the other side. The history of Chinese paintings and calligraphy in the Tokyo National Museum may allow the audience to feel the more colorful charm of Chinese painting and calligraphy.
(The Chinese of this article was corrected and was fortunate to have the help of Dr. Wu Xiaoxiao of the Tokyo National Museum.) Thank you very much!)
(This article is reprinted from Book & Picture Magazine, No. 8, 2021.) ）