著者

下田 章平

出版者

書学書道史学会

雑誌

書学書道史研究 (ISSN:18832784)

巻号頁・発行日

vol.2022, no.32, pp.57-70,128, 2022-10-31 (Released:2023-03-31)

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In this paper, we mainly analyzed materials in the Naito Collection in Kansai University Library as part of Luo Zhenyu's research collection and examined the background of Luo Zhenyu's retreat to Kyoto to pursue his collection activities. We then further examined the Luo Zhenyu calligraphy, painting, and inscription rubbing collection (hereinafter the “Early Luo Zhenyu Collection”) and discussed the methods used to promote and sell them to Japanese collectors. As a result of the study, we found that Luo Zhenyu's decision to retreat to Kyoto was based on the arrangement by Fujita Kenpo, who determined that he would be able to raise the funds necessary to afford the expenses for the retreat and academic publishing. In fact, the initial cost of the Kyoto retreat was financed by the Uenobon Jushichijo. The sale of the Early Luo Zhenyu Collection also served to educate Japan about the reality of Ming and Qing calligraphy, paintings, and the good inscription rubbings and formed the core of the Ueno Yuchikusai and Onishi Kenzan collections. Yamamoto Jiho seemed to be inspired by such a movement and expanded the Ming and Qing calligraphy and paintings collection in a short period of time. Furthermore, the Luo Zhenyu collection was cataloged for sale in advance, and an exhibition of the collection was held. It should be noted that this later became a guideline for the collection group led by Inukai Bokudo in terms of methods of promotion and sale. In addition, we also found that Luo Zhenyu not only purchased the collection from Chinese collectors but also widely engaged in sales on their behalf and sales intermediation when the collection was transferred to the east. This suggests that a portion of the many calligraphy, paintings, and inscription rubbings released by the financially impoverished Qing imperial family and high-ranking officials flowed out through Luo Zhenyu to Japan, seeking a sales channel.

著者

下田 章平

出版者

書学書道史学会

雑誌

書学書道史研究 (ISSN:18832784)

巻号頁・発行日

vol.2019, no.29, pp.73-87,103, 2019-10-31 (Released:2020-01-31)

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This paper deals with Seido Kikuchi and Rendo Ohashi, who seem to have taken over the network of art collectors of Seido. I primarily examine Kikuchi  Seido  Nikki and some rare materials kept by the Ohashi family to reveal the network of Seido in the early Showa era. As a result of my examination, I conclude that Seido had a close relationship with the group of art collectors led by Bokudo Inukai in the early Showa era.   In addition, I identify two important points that will help to reveal the bigger picture of the network of art collectors in the period from the Xinhai Revolution to the end of World War II, a transitional period in the history of art collection. First, the activities of collectors between Japan and China after Luo Zhenyu's return to China need to be researched. Second, the roles of the collectors in the network who were contemporaries of Seido Kikuchi (Senro Kawai, Rokkyo Sugitani, Sentaro Yamaoka, Kyozan Yamamoto, Hekido Tanabe, Ginjiro Fujiwara and Tatsujiro Hashimoto), as well as the roles of the collectors who led the next generation (Kikujiro Takashima, Yasunosuke Ogiwara and Tsuneichi Inoue) and of those in China (Choji Sasaki and Shunzaburo Kuroki), need to be considered.   The network of Seido included many Japanese art collectors other than those mentioned above, but few  points of contact between Chinese/Korean and Japanese art collectors, including their social relationships, have been confirmed; consequently, Chinese/Korean and Japanese art collectors are likely to have had separate networks. This fact will have to be taken into account when Chinese paintings, calligraphy and calligraphic rubbings are studied.

著者

下田 章平 SHIMODA Shohei

出版者

中国文化学会(筑波大学文芸言語学系内)

雑誌

中国文化 : 研究と教育 = The Chinese culture (ISSN:02896648)

巻号頁・発行日

vol.73, pp.92-104, 2015

著者

下田 章平

出版者

中国文化学会

雑誌

中国文化 (ISSN:02896648)

巻号頁・発行日

no.68, pp.54-66, 2010