Writing Chinese art history in early twentieth-century China
Guo, H.
Citation
Guo, H. (2010, March 3). Writing Chinese art history in early twentieth-century China. Retrieved from https://hdl.handle.net/1887/15033
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Printed by Nanjing Chuanxia Designing & Printing Company 2010 Guo Hui
Cover designed by Guo Zhe
C
Writing Chinese Art History in Early Twentieth-Century China
Proefschri
ter verkrijging van
de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus prof. mr. P.F. van der Heijden,
volgens besluit van het College voor Promoties te verdedigen op woensdag 3 maart 2010
klokke 16.15 uur door
GUO, Hui
geboren te Nanjing, Volksrepubliek China in 1981
Promotiecommissie
promotor: Prof. dr. B.J. ter Haar copromotor: Dr. O.J. Moore
overige leden: Prof. C. Clunas (Oxford University)
Prof. M. Meadow (Leiden University and University of California)
Prof. dr. K. Zijlmans
The research is financially supported by The Hulsewé-Wazniewski Foundation (Hulsewé-Wazniewski Stiching, HWS) for the Advancement of Teaching and Research in the Archaeology, Art and Material Culture of China at Leiden University.
To my parents Guo Shengding and Lu Ming
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Table of Contents
A
cknowledgments………...Introduction………
Chapter 1 In the Name of the Nation: Imagining Art History in Early Republican China under Japanese Influence………..
1.1 The Japanese Impact………....
1.2 Imaging Art History in China’s Nation Building………
1.3 Shi Yan and Eastern Art History……….
Chapter 2 From Japan to Europe: Teng Gu’s Internalization of Western Art Historical Ideas………...
2.1 Contact with the West………..
2.2 Art Historical Research………...
2.3 Internalization of Western Ideas………..
2.4 Originality in Chinese Art History………..
Chapter 3 Painters as Art Historians: Inherited Tradition in Modern Chinese Art Historical Writing………
3.1 Roles of Chinese Scholars in the Emergence of Art History……….
3.2 Words and Images: Fu Baoshi and Art Historical Writing………
3.3 Chinese Ink Painters as Scholars………...
Chapter 4 The Appearance and Disappearance of Canons:
Canonization in Early Twentieth-Century Chinese Art History……….
4.1 Histories of Various Art Forms………..
4.2 Time in Narratives of Chinese Art Historical Writing………..
4.3 The Appearance of New Art Canons……….
Chapter 5 Art Historical Narrative in Exhibitions: The Shanghai Preliminary Exhibition of Chinese Art (1935)……….
5.1 Early Exhibition Practice in China………
5.2 Sanctification of Objects………...
1 3
14 15 29 40
50 50 55 60 76
83 84 93 103
112 114 121 127
138 139 145
5.3 Hierarchy of Art Forms……….
5.4 Prioritization of Historical Periods………
5.5 Canonization of Artists……….
Conclusion ………
Figures ………...
Appendix I ………
Appendix II ………
Glossary ………
Bibliography ………
Samenvatting ………
Curriculum Vitae ……….
155 162 164 170 175 185 188 190 199 219 223
Acknowledgments
In 1999, when I started my undergraduate education at a university in Beijing, I never thought that I would study Chinese art history outside China. Now, ten years later, I have finished this thesis on the historiography of Chinese art. This could have never happened without the generous support of many institutions and individuals in different countries.
My thanks go to the following institutions for their financial and materials support:
The Hulsewé-Wazniewski Foundation (Hulsewé-Wazniewski Stiching, HWS) for the Advancement of Teaching and Research in the Archaeology, Art and Material Culture of China at Leiden University, the Leiden University Institute for Area Studies, the Department of Chinese Languages and Cultures and its amazing library.
I feel privileged to have conducted my PhD study in the project “A Social History of Visual Images in Late Imperial and Modern China”, which guaranteed constant intellectual and spiritual support from scholars in the field. I would like to thank Francesca Dal Lago, whose passion opened my eyes to the field of Chinese art history and whose insights stimulated me at different stages of this research. I am grateful to Maghiel van Crevel, John Clark (Sydney University), Shen Kuiyi (University of California at San Diego), and Julia Andrews (Ohio State University) for sharing information and ideas. I would like to express my gratitude to Tze-Ki Hon, Kuo Ya-pei, Liu Long-hsin, and Hiroko Sakamoto, all visiting scholars at Leiden University and the International Institute for Asian Studies.
In the four-year period of this study, I participated in several conferences, during which academic encounters provided valuable comments to my studies. I take this opportunity to thank Lothar Ledderose (Heidelberg University) and Craig Clunas (Oxford University) for their suggestions at the Heidelberg Colloquies on East Asian Art History (Sept. 2006). My thanks go also to Ting Chang (Camegie Mellon University) and Ren Hai (University of Arizona) for their comments at the Leiden international symposium “‘China’
on Display: Past and Present Practices of Selecting, Exhibiting and Viewing Chinese Visual and Material Culture” (Dec. 2007). I would like to express my gratitude to Du Jingyi, Lewis Mayo (Melbourne University), Qi Wei, and Zheng Yan for their kind assistance during my trip to the 32nd Congress of the International Committee of the History of Art in Melbourne (Jan. 2008).
My fieldwork has included data collection and interviews. I am greatly indebted to Bi Fei for his continuous support and for introducing me to Chinese circles in art history.
I would also like to express my gratitude to Chen Ganglin, Fan Hongsheng, Guo Zhe, Han Congyao, He Feng, Hu Yangxi, Lu Xin, Shen Ning, Wan Xinhua, Wang Shouren, Wu Jiangnan, and Ye Zongmin for providing me with important sources. I appreciate the
kindness of the artists and experts I interviewed: Fan Jinzhong, Li Hong, Tang Guo, and Zhang Peili.
I am grateful to Tomiya Itaru (Kyoto University) whose generous assistance made my fieldwork at Kyoto University in October 2008 all the more fruitful. I must acknowledge further help during that visit from Hiromitsu Kobayashi (Sophia University), Nishigami Minoru (Kyoto National Museum), Olivier Krischer, Toshiharu Omuka (Tsukuba University), and Wang Zhongchen. All offered insights and materials on which this thesis is based. My special gratitude goes to Curtis Gayle (Japan Women’s University) and Motoe Sasaki (Hosei University) whose hospitality and assistance made my stay in Tokyo memorable.
My time at Leiden University has been made all the more pleasant due to the warm friendships I enjoyed with colleagues and friends. They include Henk Blezer, Chiara Brivio, Hosen Chan, Chen Yu-jen, Cheng Yi-wen, Cui Rongjia, Ding Xiang, Els van Dongen, Jeroen Groenewegen, Li Wen, Qin Ning, Lena Scheen, Arthur Sevestre, Judith Sevestre, Shu Chunyan, Panitee Suksomboon, and Tsai Chin. I appreciate very much support from Annika Pissin, Paramita Paul and her family. I also want to thank Anna Yeadell, who edited my English. Last but not least, I dedicate my work to my parents Guo Shengding and Lu Ming, whose unconditional support gives me courage and determination. I owe many thanks also to all my relatives and friends in China who have accompanied me in my pursuit of an academic career.
