[Japanese] Akihira Shimoda / by Fan Liya / Translation
Abstract: This article examines Duanfang's enlightened collection posture from several levels, such as Duanfang's public publication of collection catalogues and sending information about his collection, that is, he wants to collect Chinese paintings and calligraphy in private museums, provide them to the "public to see" and "share eye blessings", and is committed to preserving these paintings and calligraphy in China to prevent scattering; but at the same time, Duanfang's enlightened collection posture has also become an opportunity to promote the flow of Chinese paintings and calligraphy overseas, that is, Duanfang died in the Xinhai Revolution, and his collection. In particular, the high-quality collections included in the "Summer Record of Nongyin" are purchased by overseas collectors who have already received information about their collections. One of the important factors in the lifeblood of his collection is that Duanfang has allowed his collection to be identified and evaluated by first-class appraisal experts in the late Qing Dynasty, and at the same time, information about the high reliability of his collection has also spread overseas.
Keywords: Duanfang Chinese painting and calligraphy overseas loss of epigraphy in the late Qing Dynasty Private museum
preface
Duan Fang (1861-1911), zi Wuqiao, Manchurian Zhengbai banner origin, surnamed Tohuo Luoshi, number Tao Zhai, Zao Zhai, Baohua Nunnery. He has served as the governor of Liangjiang and the governor directly under the governor, and is famous for his collection of bronzes, calligraphy and paintings, inscriptions, stele stones, ancient jade, and ancient books.
The political situation of this period was that the imperial court was divided into the "Hou Party" with empress dowager (1835-1908) as the core and the "Imperial Party" (Qing Faction) supporting the Guangxu Emperor (1875-1908), two factions opposed, the former li hongzhang (1823-1901) and other Huaijun and Xiang warlords monopolizing military power, and the latter holding the power of the examination for officials, so the content of the examination also reflected the content of the examination" Imperial Party", the tendency to learn. For those literati students who belong to the "imperial party" and want to get ahead, proficiency in ramology, epigraphy, geography, and other studies is an indispensable condition for becoming officials. Among them, including Duan Fang, the literati and students belonging to the "imperial party" faction and studying epigraphy rushed to expand the collection of bronzes, as well as stone carvings, inscriptions, calligraphy and paintings, and ancient book editions. In addition, due to the Taiping Heavenly Kingdom Movement, the burning of the Yuanmingyuan by the British and French coalition forces, the Boxer Rebellion and many other events at the end of the Qing Dynasty, there were frequent disturbances, which caused the collections hidden in the Qingnei Province or the hands of private collectors to flow into the market, which was also the main reason for the active atmosphere of the art market.
By the time Duanfang officially entered the official circles and began political activities, the "imperial party" had begun to decline, and many famous collectors who had contacts with Duanfang, such as Pan Zuyin (1830-1890), Wu Dayi (1835-1902), Wang Yirong (1845-1900), Sheng Yu (1850-1899) and other famous collectors who had contacts with Duanfang, had died, but Duanfang, who was appointed as the governor of Hubei and Hunan, was regarded by the southern celebrities as a symbol of aspiring to restore the new, and his golden stone interest also helped him establish a reputation among the southern celebrities. He gathered many of his former staff under Zhang Zhidong (1837-1909) around him and formed his own shogunate, so that the duanfang, who was a high official, backed by his authority and financial resources, absorbed newly excavated cultural relics and the high-quality collections of the above-mentioned deceased collectors, and established a collection that can be called the crown of ancient and modern times. In addition, his collection has also been appraised and evaluated by first-class appraisers in the late Qing Dynasty such as Yang Shoujing (1839-1915), Zhang Zuyi (1849-1917), Li Baoke (1859-1915), and also compiled a collection catalog to systematize its collection, which contributed to Duanfang becoming the largest collector of cultural relics in the late Qing Dynasty. However, after the Xinhai Revolution, due to Duanfang's assassination in the middle of the way, his collection was also scattered. Incidentally, in addition to Duanfang, there were also Luo Zhenyu (1866-1940) and Guanyan Jingxian (1875-1931), who were duanfang's staff and became a new generation of collectors after Duanfang, who were also active in collecting activities.
Therefore, this article examines the enlightened collection attitude of The Duanfang from the perspective of the disclosure of the Duanfang collection, the publication of the catalogue, and the sending of information to the outside world, so as to unlock the opportunity for the loss of Chinese paintings and calligraphy overseas.
1. Disclosure of collectibles
Tadakata himself wanted to exhibit his collection to the "Competition" (Tasting Committee), but for various reasons, he was unable to do so, but he considered opening his collection to domestic and foreign countries through the construction of a private museum and participation in the "Great Japan Exposition".
Regarding the "Tournament", the Diary of Kotaro Sokata [3] In the diary dated March 1, 1909, meiji 42nd year (1909), the following is recorded:
In the afternoon, Saburo Inoue came to visit. Take your family on the tram to The Fool's Garden to see the "Race" of calligraphy and paintings and golden stones. The three generations of sacrificial vessels, dings, etc. produced by the Governor Duanfang have a lot to see, and they return home at 4 o'clock.
The above is a record of Munakata Kotaro (1864-1923), who was active in Shanghai at that time, and his family members watching the Duanfang collection at the Golden Stone Calligraphy and Painting Competition in Shanghai Yuyuan. The account of the "tournament" can also be found in the "Diary of Zheng Xiaoxu", zheng's diary, there is no account of DuanFang, but the reference to the "tournament", said to be at least ten days long, the grand situation is very large. 〔4〕
Regarding the construction of a private museum, Duan Fang had already begun to conceive around the thirty-third year of Guangxu (1907), and after returning to Beijing as a directly subordinate governor, he built a private museum on the spacious land of Liulichang, which he intended to complete at the end of the third year of Xuanun (1912). Duanfang also invited friends to visit the museum under construction, but in the same year, an unexpected death occurred, coupled with the outbreak of the Xinhai Revolution, so that the construction of the museum had to be terminated.
Regarding Tachikata's participation in the Great Exposition held in Japan, Masaki Naohiko's "Diary of The Thirteen Matsudo"[6] Meiji 41 (1908) Diary of April 17, 1908, there is the following account:
Friday, sunny, go to work. Takeuchi Jinping, who was the head of the branch of the Hankou Shokin Bank in the Qing Dynasty, came to visit together with Hayazaki Minoruchi and accepted the following two commissions to seek my opinion, that is, the Governor of Nanjing [it should be the mistake of the Two Rivers] Duan Fangshi wanted to exhibit his collection of Jinshi calligraphy and paintings to the Japan Grand Exposition, and hoped to convey his will to the Japanese authorities; he consulted with the bookstore [publisher] on the publication of the Duanfang's Jinshi Calligraphy and Painting Catalogue. I promised them to negotiate with the authorities of the Exposition on the one hand, and to negotiate with the Aesthetic Academy on the publication of the catalogue on the other hand, and I bid farewell to them.
The above content shows that in the thirty-fourth year of Guangxu (1908), Duan, who was the governor of Liangjiang, expressed his wish to exhibit his collection of golden stone calligraphy and paintings to the authorities hosting the Great Exposition of Japan, and commissioned the publication of a catalogue. What is important here is that Duanfang has the intention of actively disclosing his collection to overseas, and does not satisfy the old Jinshi calligraphy and painting bibliography, but wants to compile a new collection catalogue. The "Great Japan Exposition" mentioned in the diary refers to the original intention of holding the International Exposition in the actual sense of the Forty-fifth Year of Meiji (1912), and the Japanese government began to prepare for it in the forty-first year of Meiji (1907), but due to financial difficulties, in September of the second year of Meiji Forty-first Year (1908), it was decided to postpone it to the sixth year of Taisho (1917), but in fact, in the forty-fifth year of Meiji, it became an expo that was extended indefinitely (in fact suspended). [7] Duan Fang began to be interested in the World Exposition from the twenty-ninth year of Guangxu (1903), especially deeply influenced by the Japanese Exposition, during his tenure as governor of Liangjiang, he planned to hold China's first exposition, that is, the "Nanyang Persuasion Association" [8], so Duan Fang was naturally very concerned about the exposition held in Japan, and the "Great Japan Exposition" also became one of his most important events, but in fact, the suspension of the exposition and the death of Duan Fang himself made his wish to collect it for exhibition overseas finally unrealized.
2. Publication of the Catalogue of the Duanfang Collection
Duanfang published a collection of photocopies and provided plates to art magazines. As shown in fang ruo's original part of the "Supplementary School Stele Essay" [9], "All three books are in the Toho Luoshi, all have stone copies", Duan Fang collected the "Three Books" (Changyuan Ben, Huayin Ben, and Siming Ben) of the Xiyue Huashan Temple Stele (the original stone has been destroyed), and produced a lithographic copy. In addition, in the second year of the Republic of China (1913), Chen Yi wrote the following in the old collection of Xiaoping Zongzhi (1876-1935) "Dianshizhai Stone Seal Changyuan Ben" (personal collection):
The West YueHuashan Stele was destroyed early. This Nagagaki Ben is the first ben in the sea. In the former Qing Dynasty, he bought it for 4,000 gold, but because of the 2,000 copies of the Sifyun glass plate, it was passed down to the ancient lovers, and they first got the true face.
Although some people have pointed out that this trek is forged, it still has the value of information in transmitting the information of the late Qing Dynasty and the beginning of the People[10]. According to this passage, it can be known that Duanfang used a glass version (Colo edition) and published 2,000 copies of the Changyuan Ben, but this refers to the above-mentioned private edition, or the Shanghai Youzheng Book Company (publication date unknown) equivalent to a copy of the private edition, it is unknown. However, among Chinese collectors, collectors who distributed and circulated private editions through photocopying and circulation already had precedents such as Liu Yan (1857-1909) [11], but in terms of scale, the example of Duanfang can be described as unique, and it is not difficult to imagine that it brought a certain impact to the collection community at that time. That is to say, this is because the Colo edition printing at that time, due to the poor durability of the original edition, printed no more than 1,000 copies of a plate, and printing with rice paper and silk and other materials with hairy heads could only print 300 to 500 copies [12].
In addition, Duanfang also provided plates of his collection to the Shenzhou Guoguang Collection (guangxu 34th year [1908] February issue). In the inaugural issue of the magazine, there is a preface by Deng Shi (1877-1951), declaring that in order to avoid the death of the collection caused by the collector's secret collection, "fine art" (mainly gold stones, calligraphy and paintings) was photocopied and published for public appreciation and shared eyes [13], from which it can be seen that the end of the plate provider is fully understood the content of the Deng order.
3. External transmission of information on the collection of the relevant parties
As mentioned above, the end of the Qing Dynasty was a period when Duan Fang or his staff Luo Zhenyu and Guanyan Jingxian were actively involved in collecting activities, but at the same time, if you look around the world, you will find that as Pointed out by Kakuda Seungshi, the end of the Qing Dynasty was also at the end of "Japanese fun" and the period when "Chinese orthodox art" began to be evaluated. [14] The main reasons for this phenomenon are: First, after the Boxer Rebellion, cultural relics, including Chinese paintings and calligraphy, began to gradually flow to Europe and the United States; second, after the Xinhai Revolution, due to the poverty of the Qing royal family and its high-ranking officials, their collections were officially lost to overseas countries, including Japan. In addition, the discovery of oracle bones in the twenty-fifth year of the Qing Dynasty (1898), and the subsequent Central Asian expeditions sent by Britain and France and other countries brought back a large number of Dunhuang documents and newly excavated cultural relics such as Jian Mu, which greatly increased the interest of various countries in Chinese cultural relics. At that time, many Qing dynasty officials stood on the side of xenophobia, but Duan Fang actively carried out exchanges with foreigners[15], and he also had relations with overseas collectors and scholars who visited China listed below.
1. Faukesen (1866–1945)
In the twenty-eighth year of Guangxu (1894) when Duanfang was the governor of Hubei, John C. Ferguson (Chinese name Fu Kaisen) viewed his collection "The Forbidden Garden" (now in the Metropolitan Museum of Art) [16]. Born in a Canadian clergyman's family, Fu Kaisen moved to the United States at an early age, and after graduating from the University of Washington in 1886, he came to China as a missionary, founded schools such as Huiwen Academy (the predecessor of Nanjing University), and founded the "News" in 1899, spending most of his life in China. Fu Kaisen began his activities as an adviser to Duanfang to implement the New Deal, and also deepened exchanges with Duanfang in terms of collections. Later, Fu Kaisen used the American Gengzi indemnity as funds to complete monographs such as "Bibliography of Dynasties" and "Bibliography of Dynasties Ji Jinmu".
2. Inuyasha (1855-1932)
Inuyasha is a politician from Okayama with a long character and a wooden hall. He died in the May 15 Incident, which occurred while serving as Prime Minister. Inuyasha is proficient in literature, and with his sinological attainments as his background, he is fond of poetry and ink, and has a certain appreciation for swords, calligraphy and painting, and the four treasures of the literary room. Regarding the interaction between Tachikata and Inuyasha, the following is recorded in the diary of Jiro Majima (1885-1925) from January 11 to 13, 2011 (now in the Japanese Inuyasha Memorial Hall [17]) and Meiji 41 (Guangxu 33 [1907]):
Saturday, January 11 [December 8], sunny and warm
At 7:00 a.m., arrive in Wuhu and go ashore to visit the place that will soon become a place of residence. Sail at 8:30 a.m. Disembark at 1 p.m. in Nanjing. Immediately go to the Governor's Office and visit the end. At 4:30 p.m., arrive at the consulate. The Governor of Tachikata came to thank him and agreed to accept the invitation of Consul Tatsuichiro Funazu tonight to come to the dinner with the governor and the following high officials. Inuyasha came out to greet inuyasha, Hayakawa, Furuya, Ho, Zheng, and Wang.
Sunday, January 12 [December 9], rain, warm
A gift to the Governor of Duanfang. At 9:00 a.m., accompanied by Consul Tatsuichiro Funazu, he visited the Tribute Temple, the Confucius Temple, and the Ming Imperial Palace. At noon, attend a welcome party held by the Japanese Association stranded in Nanjing at the Commercial Conference Center. More than 30 qing dynasty civil and military officials were also invited to the table. The gift of the end is delivered. At 7 p.m., accept the invitation of the end-of-the-board [end-side] and go to the dinner. See the bronzes and calligraphy and paintings in the duanfang secret collection. Return home at 10:00.
Sunday, January 13 [December 10] [should be a mistake on Monday], rain, cold
At 10:00 a.m., go to Nanjing Xiaguan and wait for the ferry. But the ferry did not come in the end, so I had to spend the night on the barge. The send-offs were Tatsuichiro Funazu, Furuya, Matsumoto, Ho, Zheng, and Wang.
The contents of these diaries also appear in other documents [18], and the process of integrating these materials is as follows: At 1:00 p.m. on January 11 (it is said that at 1:30 p.m.), Inuyasha and his party arrived in Nanjing, and the consul of Funazu Tatsuichiro (1873-1947) and three staff members of the end side (detailed unknown) came out to greet them. At 2:30 p.m., they went to the Governor's Palace and visited the consulate at 4:30 p.m., at which point they accepted the apologies. That night, the Japanese Consulate in Nanjing made a welcome dinner with Japanese dishes as the main guest, and Inuyasha as the main guest, and Duan Fang and the envoy as deputy guests. On January 12, Inuyasha gave a gift to Duanfang, and in the morning, accompanied by Funatsu and others, he went sightseeing in downtown Nanjing. At noon, Inuyasha held a luncheon at the business conference, inviting Tadakata and 30 of his staff, as well as a japanese celebrity who was still in Japan. Afterwards, Duanfang gave a gift to the dog breeding in thanks. From 7 p.m. to 10 p.m., Duanfang held a grand dinner, at which time Miao Quansun (1844-1919) also attended the banquet, and Duanfang showed the attendees his secret collection of bronzes and paintings. On January 13 and January 11, as on the day of arrival, Inuyasha and his party were sent to Shanghai by funatsu and several other Japanese and several staff members of the Duanfang.
On the 12th, a gift of thanks from The End was delivered, which was an Ancient Egyptian carved Takumoto (now in the Japanese Wooden Chicken Room [19]), and the old outer inscription of the inuyasha had the inscription "搨本." Peng Shen Zhengyue in the Qing Dynasty Nanjing Mutang inscription", plutonium has "wood" Zhu Wenyuan seal. In addition, the inscription on the end of the square has "Egyptian five thousand years of ancient carving, Bong Dog Breed mr. 砛鍳." Ding Wei Jiaping, Duan Fang Inscription", plutonium has the white text square seal of "Seal of Duan Fang". Duanfang, one of the five ministers who went on a foreign expedition, visited Cairo from May 4 to 5, 1907, in the 33rd year of Guangxu,1907, when he purchased 10 stone tablets inscribed with hieroglyphs and busts of Egyptian pharaohs and empresses. Therefore, this should be an extension of the stone tablets he bought from Cairo and brought back to China. In addition, Duanfang also gave the same kind of Takuben to Sun Yaorang (1848-1908) and Lei Yue (1882-1933), which shows that this Takuben is a collection that Duanfang is proud of .[21]
In addition, from 7:00 p.m. to 10:00 p.m. on the same day, inuyasha attended the grand dinner hosted by Duanfang and personally watched Duanfang's collection. The details of the "bronzes" are unknown, but in terms of their collection of paintings and calligraphy, they can be seen through the following records of inuyasha.
(1) "Cai Zhonghui Gong Xie Shu Shu Tokyo Inuyasha, Japan. 〔22〕
(2) "The True Scroll of the Epitaph Manuscript of the Duke Shi Er of the Huangwen Festival" (now in the Tokyo National Museum, Japan), viewed on the twelfth day of the first month of the Meiji Pengshen Dynasty. Cover the world's first ink treasure. After learning dog breeding. 〔23〕
(3) "Jin Gu Kai's Roselle Fu Scroll" (now in the Friar Museum of Art, USA), Meiji Pengshen First Moon Worship. Japanese Beichu Dog Breeding Yi. 〔24〕
The above paintings and calligraphies are also included in Duanfang's unpublished bibliography "Records of the Elimination of Summers" [25] ((1) in volume 2, (2) in volume 3, (3) in volume 1), and can be regarded as the most anticipated works of Duanfang's collection.
As mentioned above, although the exchange between Duanfang and Inuyasha was limited to a few days in the thirty-third year of Guangxu (1907), Duanfang specially sent three of his staff members to greet him and bid farewell to Inuyasha, and Duanfang himself also ate with Inuyasha three times, showing Duanfang's warm hospitality to Inuyasha beyond usual. In addition, as in the case of Bo Xihe described below, Duan fang obviously greatly appreciates Inuyasha's appreciation of Jinshi calligraphy and painting. That is to say, Duanfang only selected Takumoto as a gift to give to The Dog breeding after learning about the fun of the Golden Stone Calligraphy and Painting of the Dog Breed in advance, and at the dinner party on the 12th, Duanfang also let the identification expert of the calligraphy and painting inscription and the ancient book version, and Miao Quansun, who had also participated in the examination and approval of the Duan yin "Ren Yin Summer Record", attend the accompaniment, and implored the Dog Breed to write a meditation on his high-quality collection. Incidentally, in the category of Guan Ji, Duan Fang always had his staff, who were also experts in the identification of Jinshi calligraphy and painting, to write inscriptions of characters, which became a common practice for him, so it was impossible to write these Guan Ji and Shu Wen without a certain degree of appreciation. 〔26〕
The exchange between Endo and the Japanese around the collection has historically been studied as beginnings with Naito Konan and Taki Seiichi (mentioned below), but Inuyasha apparently preceded the two of them, and although Naito had been to China before Meiji forty-three years (1910), as far as the author has examined, I have not seen any communication between Naito and Endo at this time. In addition, Naito and Luo Zhenyu, who is very close to Duanfang, had a free conversation about Jinshi, but at this stage, Naito did not seem to get any information about Duanfang from Luo[27], so I think the opportunity for Naito's investigation should be information from Inuyasha's second visit to China that has already established a close communication relationship with Duanfang.
3. Bo xihe (1878-1945)
Paul Eugène Pelliot, a Paris-born sinologist known for bringing back to France with the most scholarly Dunhuang literature, visited Duanfang twice. In the thirty-fourth year of Guangxu (1908), he had contact with Duanfang through diplomatic channels, viewed the latter's bronze collection, and took photos. In addition, Bo Xihe also photographed the collection of Pei Jingfu (1854-1926) and read the ancient books collected by the Jiangnan Library, where Miao Quansun was the general office. At this time, although Miao had heard from Bo Xihe about his obtaining the Dunhuang literature, he did not care. In June of the first year of Xuantong (1909), Bo Xihe visited Duanfang again, and when Duanfang was one of the five ministers on a visit to the West, he inscribed the inscription in French on the rubbing of the "Statue Of Depression Canal Anzhou" (now in the National Library of China) collected by the Berlin Museum, and showed Duanfang the Dunhuang documents he had brought. Duan Fang was extremely shocked, and since then devoted himself to the recycling of Dunhuang literature, but in the end it was unsuccessful, so Duan Fang immediately informed Luo Zhenyu, who was serving in the Faculty, and asked Luo to immediately carry out the ancient books that remained in the Tibetan Scripture Cave. In addition, Duan Fang himself also collected the "Guanyin Tu" (8 years of the Northern Song Dynasty Kaibao) excavated from the Thousand Buddha Cave in Dunhuang in the 25th year of Guangxu (1899), which shows that he was very concerned about the goods brought by Dunhuang [29].
4. Freer (1856–1919)
Charles Lang Freer is an industrialist from Kingston, USA, and a well-known collector of oriental art. In the first year of Xuantong (1909), Freer visited Duanfang and admired his collection, and Freer said: "It is the best collection I have ever seen, and Duanfang is also the sharpest and most capable collector I have ever met." ”〔30〕
5. Naito Hunan (1866-1934) and other investigative delegations
In the 43rd year of Meiji (1910), in order to investigate the ancient texts unearthed in Dunhuang, kyoto Imperial University of Liberal Arts sent three professors, Naito Hunan, Kano Naoki (1868-1947), Ando Akira Ogawa (1870-1941), and two lecturers from Tomioka Kenzo (1873-1918) and Hamada Kenzo (1881-1938) to Beijing. Although the history of this is unknown, Taki Seiichi (1873-1945) was also involved in the investigation of Kyoto Imperial University, and Taki further investigated the collections of Yan Jingxian and Luo Zhenyu.
In this way, through the above-mentioned overseas collectors and scholars who have communicated with the terminal party, the information about the collection of the terminal party is sent overseas. For example, on September 10, 1910, 1910, 43 years after his return to China, Taki Seiichi, who had investigated the collection of Duanfang and Gyeong-hyun, enlarged the photographs taken by him while investigating the collections of Duanfang and Gyeong-hyun and others to their original size and produced them at an exhibition held by the Kokukasha. At the same time, starting with Guohua No. 250 (March 1911), he published explanatory articles one by one, entitled "Ancient Art Collected by the Duanfang Clan (Duanfang's Collection of Ancient Art)" (Guohua, No. 250, March 1911, pp. 249-252). In addition, Naito and others published an article entitled "Kyoto University of Liberal Arts Kiyokuni Dispatch Professor Report Exhibition Number" in the Sunday Appendix of the Osaka Asahi Shimbun on February 5, 1911. 〔31〕
Fourth, the preservation of Chinese paintings and calligraphy and the outflow from overseas
The author believes that Duanfang's intention to disclose his collection, publish the catalogue and send information to the outside world is that he wants to preserve Chinese paintings and calligraphy. In the thirty-third year of Guangxu (1907), the Collection of the Lu Dynasty Song Lou, the 100,000-scroll Building, and the Shouxian Pavilion were sold to Yanosuke Iwasaki (1851-1908), and during the same period, the collection of the 8,000-volume building of the Qiantang Ding Clan also faced a crisis of dispersion. In order to preserve these books, Duan Fang accepted Miao Quansun's suggestion, purchased Ding's collection, and collected them in the first "public" library created in the same year, the Jiangnan Library.[32] It may have been considered that Chinese paintings and calligraphy should also be collected in its own private museum like the Ding Collection, and through the provision of "public appreciation" and "shared eye blessings" ("Shenzhou Guoguang Collection", Deng Xu), it is committed to preserving these calligraphy and painting collections in China to prevent scattering.
But on the other hand, Duanfang's enlightened attitude towards collecting has also become an opportunity to promote the flow of Chinese paintings and calligraphy overseas, that is, Duanfang died during the Xinhai Revolution, and as soon as he died, his collections, especially the high-quality collections included in the "Records of the Elimination of Summer", were purchased by overseas collectors who had already received information about his collections.
The earliest collector of Theakata was kyōzo Okakura (1863-1913), one of the founders of The National Wall magazine. In the first year of the Republic of China (1912), he visited China to buy the fine art required by the Museum of Fine Arts in Boston, but after receiving the news that the Duanfang collection would not be sold until the duanfang funeral was completed, he died of heart, but Okakura purchased the guanyan jingxian collection, which was also introduced to guohua [33].
Subsequently, the Duanfang collection was sorted out by its descendants and sold at home and abroad [34]. Among the collections sold overseas are the above-mentioned "Cai Zhonghui Gong Xie Imperial Gift Book and Poetry Scroll" that was once the old collection of Duanfang. It is now confirmed that the scroll was a descendant of Tōkata, and was sold to Nakamura (1866-1943) on June 7, 1919, the eighth year of Taisho (1919) through the intermediary of Yoshitaro Tanaka (1880-1951), the owner of Bungōdo. Therefore, judging from the date of purchase of the collection cited below, it can be inferred that it was sold by the descendants of the end party. The "Luoshen FuTu Scroll of Jin Gu Kai" was revealed in 1914, and the "Guo Xi Shan Qiu Ji Picture Scroll" ("Nong Yin Elimination Summer Record" was not received) and the "Li Bo Shi Shu Chuan Picture Scroll" (included in the 4th volume of the "Nong Yin Elimination Summer Record") were purchased by Freer in 1916. In 1924, it was purchased by the Metropolitan Museum of Art through the hands of Fu Kaisen, who had a close relationship with Duanfang. In addition, the "True Scroll of the Epitaph of the Duke Shi Er of Huangwenjie" was revealed through the accompanying Luo Zhenyu Paiwen, which was purchased by Lin Xiongguang (ZiLang'an, 1897-1971) around the sixth year of Taisho.
In addition, the author also wants to point out the following point, that is, ancient calligraphy and painting in the cultural relics trade is a high commodity [37], only in China's domestic market, it is difficult to digest these commodities, therefore, these commodities will inevitably go overseas to find buyers, which is also one of the main reasons for the loss of cultural relics overseas.
epilogue
This article examines Duanfang's enlightened collection posture from several levels, such as Duanfang's public publication and distribution of collection catalogues and the sending of information about his collection, which has been clearly revealed through exchanges with Fu Kaisen, at least during his tenure as Inspector of Hubei. Duan Fang wanted to preserve these paintings and calligraphy in China by collecting them in private museums, providing them to the "public" and "sharing the eyes", in order to prevent them from scattering; but at the same time, Duan Fang's enlightened collection posture also became an opportunity to promote the flow of Chinese paintings and calligraphy overseas, that is, Duan Fang died in the Xinhai Revolution, and his collection, especially the high-quality collections included in the "Summer Record of Nongyin", was purchased by overseas collectors who had already received information about their collections.
The overseas outflow of these Chinese paintings and calligraphy may not be his original intention for the end of the party who wants to preserve these paintings and calligraphy in China, but from the perspective of the preservation of Chinese paintings and calligraphy, it should be highly evaluated. The collapse of the dynastic system caused by the Xinhai Revolution became an opportunity for the Duanfang collection to be sold during the Republic of China period, when many cultural relics, including calligraphy and paintings, flowed out of the Qing Dynasty and the residences of high-ranking officials [38]. In this situation, Duanfang's old collection of Chinese paintings and calligraphy was purchased by suitable collectors (collection institutions) overseas, and the only factor that can continue its lifeblood to this day is that Duanfang has let his collection be identified and evaluated by first-class appraisal experts in the late Qing Dynasty, and at the same time, the information about the high reliability of his collection has also spread overseas.
In addition, the opportunity for Chinese paintings and calligraphy to flow overseas discussed in this article is not limited to duanfang, and in the future, it is necessary to examine the trends of other collectors in the same period, which will become a topic for the author to discuss in the future.
【Author's Note】: In the process of writing this article, the author had the opportunity to personally see the Ito Shigeshi collection and received his own advice, as well as the guidance of tomoaki Kanno, Sachiko Tsuchiya, and Shigeki Matsumura. This article is part of the results of the Japan Society for the Promotion of Science research project (no. 26580023).
[Translator's Note]: This article was translated from a Japanese paper published in June 2015 in the 73rd issue of Chinese Culture: Research and Education, and was translated into Chinese with the permission of the author and the publisher for the benefit of Chinese readers. In this article [] indicates correction or supplementary explanation by the original author.
exegesis:
[1] The "modernity" in this article comes from the English "Modernity", which is intended to indicate that although Duanfang is a giant of epigraphy in the late Qing Dynasty, it has a sense of western modern collection - translator's supplement.
[2] 关于 QingSue Kakukai Katakatakata Kura, reference below. Asahara, "The Man in The Heat" – The Biography of The Endogata (1), The Bulletin of the Izumiya Hirokokan, 4th, 1987, 64th-76th, "The Man in The Heat: The 2)", 6th term, 1990, 54-81; "People in The Heat" - Endoden (3)", 1991, 23-47, "People in The Heat" – Endoden (4)" 8th, 1992, 54th-81st, "People in The Heat: Endoden (5)" 9th Term, 1993, 86-112: The Man in The Midst of "Passion" – The 10th period, 1994, 69-89, "The Man in The Heat: The 11th Term, 1995, 101-133 Nakamura Nobuo, Modern Chinese Calligraphers, Nigensha, 2000, 174-177; 1:43, my article "Collection of The Bookstones of The Perfect Face Kageken in the Civil Age", ditto, 44–83.
[3] Hiroaki Ozato, "The Diary of Kotaro Sokata, Meiji 41-42 Years," Institute of Humanities Research, No. 50, Institute of Humanities, Kanagawa University, 2013, pp. 115-169. Punctuation marks in the original journal", "changed to ",".
[4] Lao Zude compiled "Zheng Xiaoxu's Diary", Zhonghua Bookstore, 1993 edition. In the diary dated January 29, 1909, the first year of Xuan reunification, there is "... In the afternoon, nanyang road, to the Yuyuan GuanJinshi calligraphy and painting competition meeting" recorded, in the diary of February 9 of the same year, there are also "... In the afternoon, together with Zhi Xin and Bo An, they went to the Yuyuan Garden To view the calligraphy and painting competition, and there were many tourists, and Yu Shouping wrote.
[5] References below. Hajime Ishida, "Hankata Yosei SueShinsei", Nanjing University Publishing Co., Ltd. 2007 edition, 509-514: My manuscript, Collection of The Book Book of The Perfect Face Kageken in the Second Term," Hajime Ishida,"Kinboshu: Professor Hajime Ishida's Retirement Memorial Kinseki Calligraphy Series", 2 Published in 013, No. 264-278 页sho (see Chinese text, "2nd Edition of The Study of The Former Empress of The Ying-Ying": (Part 2),"艺术 Construction," 2021, 3rd term, In July 2021, 52–61:译补note).
[6] Central Public Discussion Art Publishing House, 1965.
[7] Shonosuke 长濑,"The Great Exposition of Illusions,"Paleomak Studies", 302nd term, 1996, 20-31; Furukawa Takahisa, "The Plan for the Great Exposition of Japan", Yokohama City University Ronso, Humanities Series Vol.48, No. 1, 83-101.
[8] It was actually held after Duan Fang was transferred to the position of Governor directly under the direct subordination. Referring to the previous expository [5] Zhang Shi's Examination, pp. 311-329; Zhu Ying, "Duanfang and the Nanyang Persuasion Association", Monthly Journal of History, No. 1, 1988, later included in Ma Min's "Exposition and Modern China", Central China Normal University Press, 2010 edition, pp. 407-411.
[9] Shanghai Calligraphy and Painting Publishing House, 1981 edition, pp. 81-83.
[10] After Chen Bao, there was a commentary written by Xiaoping in red pen: "Mr. Luo Shuyan saw Chen Yishu and commented: It is not like Chen Yi's pen, and he wants Chen to make others evil. This book was given to Him by Xiaoping during his tenure as a puppet Manchukuo Internal Affairs Officer, and because he was surrounded by Luo Zhenyu, it is estimated that he may have asked Luo about Chen Bao's authenticity. In addition, Xiaoping was both a diplomat and a famous collector of inscriptions. Reference to Takeo Ueno, edited by Takeo Honkan Kodaira Bunko, Mantetsu Fengtian Library, 1942 edition. Chen Yi (1873—?) ), Zi Shike, a native of Huangpi, Hubei Province, is a famous bibliophile.
[11] Sakata Gensho, On the Shadow Inscription of the Qing dynasty, Quarterly Ink Speci
ャル,21, Epitaph Takumoto, Art News Agency, 1994, pp. 176-179.
[12] Fan Muhan, ed., Modern History of Printing in China, Printing Industry Press, 1995, pp. 570-571.
[13] Tomoaki Kanno, "One Spot of Modern Recognition of The Shadow Of Manuscript Materials: Focusing on The Publishing Activities of Ming Jiu", "China's Near-Age Cultural Studies", 15th Term, 2014, 51st-85th.
[14] Regarding the trend of cultural relics being lost overseas, cf. Kaeda Sheng, "Liuyuan: Secret Treasures of the Dynasty", Japan Broadcasting Corporation, 2002 edition, pp. 254-270.
[15] Explanatory Note [5] Zhang Shi's Examination, pp. 458-474.
[16] Regarding Fu Kaisen, refer to the previous commentary [2] Asawara's commentary on "Hot Zhong" - Duan Fang Ling (V)); the former commentary [5] Zhang Shi's discussion on the examination, pp. 458-474; [Publication Notes], Fu Kaisen and Rong Geng, eds., "The Continued Compilation of The Bibliography of Past Dynasties", Beijing Library Publishing House, 2007 edition, pp. 1-3, etc.
[17] Reference my manuscripts "Jiro Mashima's Diary of The Ding-Bosei Qing Dynasty Manyu Diaries" - Inukai Takeshi's Second Visit to China (1907-1908) Records, China's Near-Age Cultural Studies, 2015, 16th term, 79th-106th Edition.
[18] In China, Japanese textile industry edited "Funazu Tatsuichiro", Toho Research Association 1958 edition, pp. 103-104; Miao Chuansun 'Diary of the Old Man in the Art Style' Guangxu Thirty-three Years (1907) December 9; Zhang Tingyin and Zhu Yuqi edited "The Complete Works of Miao Chuansun Diary 2", Phoenix Publishing House 2014 edition; "The Journey of The Sun Dew After the Death scroll" in "The Mutang Family Letter" ("A Brief Collection of New Dog Breeding Wood Hall Books", 1992 edition of the Okayama Local Culture Foundation, pp. 273-274).
[19] Based on the author's field survey dated November 4, 2013. Shigeru Ito, "Spring and Autumn in Youmo", Japan Association for the Popularization of Characters, 2002 edition, p. 240.
[20] Former Commentary [2] Asahara's treatise on "Hot In the Middle" の人-端方伝 (七)". In addition, in the previous commentary [2] Sugano's argument, there are "... If Duan really saw Zhang Zuyi before inspecting Europe and the United States, then Duanfang's purchase of ancient Egyptian tablets must be based on the information provided by Zhang's experience."
[21] Former Commentary [2] Asahara's treatise on "Hot Zhong" の人-端方伝 (5)." In addition, in the "Ancient Traguto in Egypt" (catalog number, 118, Waseda University Aizu Bayi Memorial Museum Collection of Ikebu Masaji Collection), there is "Egypt 5,000 years of ancient carving, Bong Yi father Shigeyoshi FangJiajin." Father Duan Fang inscription" is described, and stamped with the "Father" Zhu Wen Fang seal. In the Lei Bao, there are "Tao Zhai Shang Shu Yu Egyptian ancient carvings, no less than dozens of paintings, all of which were asked for by friends, and this remained in the basket." Japanese Ikebe Xiangchen Hoshi, Kaneshi Reward Yoshiya. To aid the righteousness of the sword martyrs, that is, to give gifts. Jiayin Fu Riyi Father Lei Yue", stamped with "Lei Yue Seal Letter" White Text Square Seal and "Yi Father" Zhu Wen Square Seal.
[22] Taitung District Art and Culture Foundation, ed., Shangyi Competition - Song Dynasty の書 -", Tongtuan 2013 edition, p. 10.
[23] Yujiro Nakata,"Kobaken", Nigensha 1994 edition, 29th.
[24] Roselle (F1914.53), official website of the Freer Museum of Art, February 28, 2015: http: //www.asia.si.edu//SongYuan/F1914.53/F1914.53.asp. In addition, on the scroll, there is also a note inscribed by the relevant personnel of the Yokohama Shokin Bank, which may be written by the end party to conclude the loan contract and let the bank personnel write it.
[25] Duan Fangji and Miao Quansun annotated "Records of the Elimination of Summer" (all 24 volumes), Cultural Relics Publishing House, 2004 edition. In addition, the names of the end-party collections that appear in this article are based on the names in the book.
[26] With regard to the experts under the End Gate Curtain, refer to the previous commentary [2] Sugano's discussion. As far as the author can see, although Guanyan Jingxian, who has a close friendship with Duanfang, often looks at Duanfang's collection, there is no trace of his inscription on these collections.
[27] Torajiro Naito (Hunan), "China Roaming the Yanshan Mountains and Chushui", Bowenkan 1900 edition, pp. 187-190.
[28] With regard to Bo xihe, refer to the following literature. [5] Zhang Shi's Commentary, pp. 458-474; Xu Jun, "Miscellaneous Examinations on the History of the Early Dissemination of the Bo Xi and the Book of Robbery-Luo Zhenyu's "Mingsha Stone Room Secret Book" and Others", Huang Zhengjian," huang Zhengjian, ed., "Proceedings of the Review and Prospective Academic Symposium on Dunhuang Studies of the Chinese Academy of Social Sciences", Shanghai Century Publishing Co., Ltd., Shanghai Ancient Books Publishing House, 2013 edition, pp. 46-59.
[29] Seiichi Maki, Antiquities from the Hakata clan, Kunika, No. 250, March 1911, No.
〔30〕ジョン· A·ポープ、トーマス·ロートン《序》、フーリア美術館編 《世界の美術館》34,《フーリア美術館》,Talkosha 1973 edition, pp. 9-13. In addition, in response to the diary of Freer mentioned in the preface, I have asked Lara Nie Tingshi (Metropolitan Museum of Art) from October 23, 2011, and she said that the diary is extant, but because it is a rather sloppy diary, it is difficult to interpret in many places.
[31] 详细插插揭揭揰插揭揰插插揭揰插揰26,26),2009 edition, 164-191 页sho,"New Chinese Paintings in Kokuka," Natsuko Kuze A Case Study of Chinese Art in Modern Japan,"Kunhua,"1395,2012,"5-17(See China Wen Wen," Kokuhua, New Chinese Paintings: Modern Japanese-Chinese Bibi- History of Modern Japan Research on the Ideas, Mine Daiko,4th term of 2021, May 2021, 42-49:译note).
[32] Yang Hongsheng, "Miao Quansun Research", Shanghai Century Publishing Co., Ltd., Shanghai Ancient Books Publishing House, 2008 edition, pp. 195-202.
[33] The humble draft in the previously revealed note [2].
[34] With regard to sales in China, refer to the humble draft in the previously revealed note [2].
[35] Nabeshima Inako, "Cai Xiangbi (楷書巻) of the Imperial Book of Poetry", excl. [22] Shangyi Jingjun - Song Dynasty の書 -,), pp. 71-72.
[36] Prenote [2] Mr. Asahara's thoughts, "People in the Heat" - Endoden (5)";Pre-Note[14] Mr. Tomita's Thoughts, No. 279-281.
[37] For example, in the first year of the Republic of China (1912), Yan Jingxian purchased Su Shi's "Huangzhou Cold Food Poetry Scroll" (now in the "National Palace Museum" in Taipei) and other calligraphy, paintings and ancient books for 12,000 yuan. Refer to the clumsy draft in the previously revealed note [2]. In addition, Yamanaka's (1866-1936) fame was known for buying Prince Gong's old collection "once and for all", but he excluded calligraphy and painting, which also proves this fact. Refer to the previous commentary [14] on the examination of the Tsukida clan, pp. 108-115.
[38] Pre-note [14] Mr. Tomita's thoughts, 8–15.
Akihira Shimoda is an associate professor at the Faculty of Arts, Sagami Women's University
Fan Liya is a collaborative researcher at the Center for Modern China Studies, Institute of Human Sciences, Kyoto University
(This article was originally published in Art Observation, No. 9, 2021)