Important works about Japan and Asia to challenge today’s perceptions. See the complete list of Stone “Its virtues are coherence, clear proportions, and unhedged judgments; . . . his style underscores his belief Bridge Classics at www.stonebridge.com. that history is dramatic and fully intelligible.”—Journal of Asian Studies (1965) F E As far as I know this is the fi rst time that a treatment of so vast a subject as a whole has N been attempted. However partial the result such treatment must give an impression of O social forces caught together in a splendid single sweep. And though the character, the in- Epochs of Chinese and L dividuality, so to speak, of the diff erent epochs may seem unlike, the parts belong together, L and will interlock. In the minds of present writers, Japanese and Chinese civilizations O Japanese Art are too often opposed, or else the Japanese is regarded as a mere copy of the Chinese cul- S A ture. Neither of these views is correct. It is one great working of the human mind under wide variations, like that of early classic art in Europe, Asia and Africa, when the three An Outline History of East Asiatic Design came closest at the eastern end of the Mediterranean Sea.—from the Introduction Volumes  and 2 Although superseded by modern scholarship, this 92 two-volume work E is still considered a landmark survey, one that informs about Eastern art P O at the same time it reveals the state of preliminary, and naive, Western C writing on Asia. Volume  covers early Pacifi c infl uences through the H Tang dynasty in China and the Kamakura period in Japan. Volume 2 S continues through the Manchu dynasties in China and the explosion O of popular art in Edo-period Japan. Th is faithful new edition has been F C completely reset for ease of reading and contains hundreds of reproduc- H tions of important works. I ERNEST F. FENOLLOSA (853–908) was born in Salem, Massachusetts, N studied at Harvard and Cambridge, and went to Japan in 878 to teach E S political economics and philosophy at the Imperial University in Tokyo. E He became an expert in Japanese art and was instrumental in encourag- A ing the practice and preservation of traditional art forms in a westernizing N nation. He helped found what is now Tokyo National University of Fine D Arts and in 890 became curator of the Department of Oriental Art at the J A Boston Museum of Fine Arts, where he helped organize the fi rst exhibi- P tion of Chinese painting in 894. Epochs of Chinese and Japanese Art. pub- A N lished posthumously, was edited and corrected by Fenollosa’s wife, Mary. E S E ISBN-13 978-1-933330-26-6 A R T Ernest F. Fenollosa Stone Bridge Press Berkeley, California [email protected] $18.95 / ASIAN STUDIES / ART HISTORY www.stonebridge.com Epochs of Chinese and Japanese Art An Outline History of East Asiatic Design Epochs of Chinese and Japanese Art An Outline History of East Asiatic Design Ernest F. Fenollosa Formerly Professor of Philosophy in the Imperial University of Tokio, Commissioner of Fine Arts to the Japanese Government, Etc. New and Revised Edition, with Copious Notes by Professor Petrucchi In Two Volumes This book was originally published in 92 by William Heinemann in London and by Frederick A. Stokes Company in New York. It has been newly set in type while incorporating scanned illustrations and some typographical and design features from the original edition. Published simultaneously in the United States by Stone Bridge Press, P.O. Box 8208, Berkeley, California 94707, www.stonebridge.com, and in Japan by IBC Publishing, Akasaka Community Bldg 5F, --8 Moto- Akasaka, Minato-Ku, Tokyo 07-005, www.ibcpub.co.jp. Trade distribution in the United States and Canada by Consortium Book Sales and in Japan by Yohan, Inc. For information on distribution and purchase worldwide contact Stone Bridge Press at [email protected], 50-524-8732 (tel), or 50-524-87 (fax). Cover and book design by Robert Goodman, Silvercat™ San Diego, California. © 2007 Stone Bridge Press. All rights reserved. No part of this book may be reproduced in any form without permission from the publisher. Printed in the United States of America. 202 20 200 2009 2008 2007 0 9 8 7 6 5 4 3 2  ISBN 978--933330-26-6 (USA) ISBN 978-4-89684-293-7 (JAPAN) Epochs of Chinese and Japanese Art An Outline History of East Asiatic Design Ernest F. Fenollosa Formerly Professor of Philosophy in the Imperial University of Tokio, Commissioner of Fine Arts to the Japanese Government, Etc. New and Revised Edition, with Copious Notes by Professor Petrucchi Volume I PORTRAIT OF PRINCE SHO TOKU. By Kanawoka. Foreword By the EDITOR he Foreword to the original edition of 1912 opened with the following T paragraph:— “WITH the publication of this book three years of continuous work upon a most complicated and difficult manuscript comes to an end. I have had assistance from scholars all over the world. Many months have been spent in Japan, where invaluable aid was given by artists and scholars who had been associated, several of them since the year 1880, with the archæological researches and the study of Chinese and Japanese Art to which, shortly after his arrival in Japan, Ernest Fenollosa determined to devote his life. The original manuscript of this book, left as it was in hasty pencil writing, was little more than a rough draft of the finished work he intended to make of it. Many historical dates, the names of temples, Sanskrit and Chinese names, and even the full names of art- ists were often left a blank. Especially in the choice of illustrations has the work seemed, at times, beyond the grasp of any intelligence less than his. A full list of these was made out, but often the description consisted of a single word of identification known only to the writer. From the beginning I knew that there were certain omissions which could never be filled, and certain mistakes which inevitably I must make. Yet it was the writer’s personal charge to me to bring out his book in the best way vii viii EPOCHS OF CHINESE AND JAPANESE ART I could, and this represents my best. All deficiencies and errors must be charged to me alone.” Now, in this second edition, I am glad to be able to state that of the omis- sions previously mentioned two only remain, the illustration of the Shang bronze on page 538 of Volume II., and the photograph of Chinese porcelains called for on the following page. In order to meet certain criticisms the publishers, before issuing the new edi- tion, secured the services of Professor R. Petrucci, of the Sociological Institute in Brussels, to make a careful revision of the entire work. This he has done with masterly and painstaking precision. It is perhaps to be regretted that all of Professor Petruccí’s corrections cannot be incorporated. He advises, for instance, the entire abolishing of all “Japanese pronunciation of the old Chinese names, replacing them by the Chinese now in use. Such artists as Godoshi, Ririomin, and Mokkei, though collected, studied, and venerated in Japan under these names for centuries, he would have appear always as Wu Tao-tzü, Li Lung-mien, and Mu Ch’i. He questions Professor Fenollosa’s statement in his introduction that the Japanese pronunciation has either authenticity or merit, and would have gone so far as to strike out from the introduction those paragraphs explaining and defending them. Apart from my personal opposition to a change so drastic, the wholesale adoption of purely Chinese names would have necessitated an entire re- setting of type, and have delayed this second edition for many months. Since the writer’s death in 1908 there has been, it seems, a congress of Oriental scholars from all parts of the world, and a system for the Romanized spelling of all Oriental names, not only of artists but of locali- ties, religions, deities, and personal names has been fixed upon. The Chinese epoch, for instance, called in this book “Tang,” is now always “T’ang.” Ghandara should be Ghandāra, and Yuen, Yuän. These are but a few out of hundreds. Even in “Japanese spelling, where the writer was most at home, Professor Petrucci suggests many changes, chiefly in the lengthening or shortening of vowel sounds. The words Yodo, Wado, Hogen, Jingoji, Kioto, Kobo, Shinto, Shomu, and countless others should now have the long “o”—that is, “ō.” Foreword ix In closing I must repeat, and with a deepened sense of gratitude for more recent assistance, my thanks to Mr. Charles L. Freer, of Detroit; Professor Ariga Nagao and the artist Kano Tomonobu, of Japan; Mr. Laurence Binyon, of the British Museum; Professor Arthur W. Dow, of Columbia University, New York; Dr. Stein, of the Indian Archæological Survey, and also to the Secretary of State for India for permission to reproduce four of the illustrations that appeared in “Ancient Khotan.” A special word of thanks must be given to those kind friends as well as publishers, Mr. William Heinemann, of London, and Mr. Frederick A. Stokes, of New York City. MARY FENOLLOSA.