著者

鶴田 武良

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.349, pp.18-43, 1991-03-22

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The biggest obstacle to the study of Chinese paintings of the past one hundred years is perhaps the fact that research materials such as books and journals are all scattered around. During SinoJapanese War which began in July 1937 and the following Liberation War, major art schools in China were forced to move out of the cities or to be closed or merge. A great deal of research materials were probably abandoned and lost during this period, while those which survived were largely destroyed during the turbulent years of the socalled Cultural Revolution that lasted for ten years. The least extant materials are exhibition catalogues and membership lists of art associations which were made for temporary use, and graduation albums which lost their value after the owners' deaths. Through his research on Chinese painters of the past one hundred years and search for pertinent documents conducted over ten years, the present author was able to obtain materials that can shed light on the development of modern Chinese art, including art exhibitions, art education, activities of art associations, and learning of Western painting. Access to some of the materials was extremely limited. Some were discovered by pure luck. In his paper which is to be presented in several parts, the author discusses some issues concerning art of modern China (1840-1918) and contemporary China (1919-), using the newly discovered research materials. Details about art schools' abolishment and merging, art exhibitions and art associations are included in “The Chronology of Chinese Art of the Past One Hundred Years” which will be published separately. The present article deals with the following seven nationwide art exhibitions held during the Republic period and introduces their respective backgrounds, organizations, numbers and types of exhibits, and trends. 1. National Exhibition of Children's Art-April of the 3rd year of the Republic, Peking. 2. The First National Educational ExhibitionJuly of the 13th year of the Republic, Nanking. 3. The First National Art Exhibition by Department of Education—April of the 18th year of the Republic, Shanghai. 4. National Exhibition of Children's Paintings—June of the 25th year of the Republic, Shanghai. 5. The Second National Art Exhibition by Department of Education April of the 26th year of the Republic, Nanking. 6. The Third National Art Exhibition by Department of Education December of the 31st year of the Republic, Chungch'ing. 7. The Fourth National Art Exhibition by Department of Education-planned to be held in November of the 37th year of the Republic at Nanking, but canceled.

著者

鶴田 武良

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.384, pp.48-78, 2004-11-12

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“Research on the History of Chinese Painting of the Past 100 Years - VII,” published in No. 383 of this journal, introduced the Chûnichi Kaiga Rengő Tenrankai exhibitions jointly organized by Japan and China for a total of five exhibitions between 1921 and 1929. The article discussed the chronology and process of the organization and execution of the exhibitions, and discussed the evaluation of Nihonga paintings in China. In terms of catalogues of works exhibited in these five exhibitions, there are type-set catalogues for the First and Second exhibitions, bound into the Ministry of Foreign Affairs records, Tenrankai kankei zakken, vol. 1 [Miscellaneous items related to exhibitions], in the Diplomatic Record Office of the Ministry of Foreign Affairs. A pamphlet-sized catalogue was produced for the Beijing venue of the 3rd exhibition, and a single sheet catalogue was distributed at the Shanghai venue of the 3rd exhibition. A single sheet catalogue was printed for each of the 4th exhibition venues in Tokyo and Osaka. The 5th exhibition was held at Shanghai and Dalian venues, with a pamphlet catalogue of Chinese paintings and a single sheet catalogue of Japanese paintings published for the Shanghai venue. A single pamphlet catalogue recording both Chinese and Japanese paintings was produced for the Dalian venue. These various catalogues are important reference materials regarding the state of affairs of the Chinese painting circles of the early Zhonghua Minguo (Republic of China) period, and are also extremely rare documents recording one extreme of the market for paintings during that period. However no organization in Japan has original copies of all of these catalogues. Those extant are scattered amongst the Diplomatic Record Office of the Ministry of Foreign Affairs, the Tokyo National Research Institute for Cultural Properties, and the Tokyo National University of Fine Arts and Music. The dearth of extant originals of these publications makes viewing of the actual materials difficult. Thus, this issue presents the exhibition catalogues for all five exhibitions. The data elements from some of the catalogues have been rearranged, and a consecutive numbering system has been added, but with those exceptions, the original data and contents of the catalogues have been fully reproduced. Please see the notes section at the end of each catalogue listing regarding the physical format and bibliographic information for each catalogue.