painting nature for the nation japanese visual culture Volume 8 Managing Editor John T. Carpenter Painting Nature for the Nation Taki Katei and the Challenges to Sinophile Culture in Meiji Japan by rosina buckland Leiden – Boston 2013 Published by Copyright 2013 by Koninklijke Brill NV, Leiden, BRILL The Netherlands. Koninklijke Brill NV incorporates the Plantijnstraat 2 imprints Brill, Global Oriental, Hotei Publishing, IDC 2321 JC Leiden Publishers and Martinus Nijhoff Publishers. The Netherlands brill.com/jvc All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or Editing transmitted in any form or by any means, electronic, Amy Newland, Adelaide mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Design SPi, Tamilnadu, India Brill has made all reasonable eff orts to trace all right Studio Berry Slok, Amsterdam (cover) holders to any copyrighted material used in this work. In cases where these eff orts have not been successful the Production publisher welcomes communications from copyright High Trade BV, Zwolle, The Netherlands holders, so that the appropriate acknowledgements can be Printed in Hungary made in future editions, and to settle other permission matters. ISBN 978-90-04-23355-3 Authorization to photocopy items for internal or personal Library of Congress Cataloging-in-Publication Data use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Buckland, Rosina, 1974- Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, Painting nature for the nation : Taki Katei and the MA 01923, USA. challenges to sinophile culture in Meiji Japan / by Rosina Fees are subject to change. Buckland. pages cm. -- (Japanese visual culture ; volume 8) Support for the original research of this volume was gener- Outgrowth of the author's thesis (doctoral--New York ously supplied by: Japan Foundation and Japan Society for University, 2008). the Promotion of Science Includes bibliographical references and index. ISBN 978-90-04-23355-3 (cloth with dustjacket : Cover image: alk. paper) 1. Taki, Katei, 1832-1901--Criticism and Detail of fi g. 98. Taki Katei. Pheasant with Bamboo and interpretation. 2. Painting, Japanese--Meiji period, 1868- Wisteria, Eagle and Monkey in the Snow, and Geese and 1912. 3. Painting, Japanese--Chinese infl uences. 4. Art and Reeds. 1896. Set of three hanging scrolls; ink and colour society--Japan--History--19th century. I. Title. on silk. Each H. 178.9 x 126.3 cm. Museum of the Imperial Collections. ND1059.T2654B83 2012 759.952--dc23 2012038916 Contents Acknowledgements vii Note to the Reader ix introduction 1 Summary of Katei’s Career 2 Re-Examining the Narrative of Meiji-Era Art History 3 The Systemization of Art 5 Historiographical Gaps 7 About this Book 9 1 itinerant literati painter, 1850–1866 11 Sinophile Culture in Japan 11 Early Years 16 Journey to Nagasaki 20 Itinerant Literati Painter 27 Bird-and-Flower Painting 34 2 literati culture in edo/tokyo, 1866–1888 43 Return to Edo 43 Cultivating Patrons Beyond Tokyo 47 Exhibiting Literati Painting 50 Renewed Enthusiasm for Sinophile Culture 55 Use of Chinese Models 58 Collaborative Works 66 Men of the Chinese Legation 73 Katei’s Painting Manual 76 Publications of the Literati Arts 81 3 challenges to sinophile culture and the reform of painting, 1880–1890 97 Japan’s Chinese Inheritance 97 The Complication of Bunjinga 99 Exhibiting “Painting” from 1882 to 1886 102 From Preservation to Promotion, 1885–1890 108 Revivalist Painting Styles 116 Reform Activities 122 4 painting nature for the nation, 1886–1901 127 Birds and Flowers as Symbol of Japan 127 Imperial Patronage 130 Birds and Flowers Abroad: World’s Columbian Exposition, 1893 146 v Appropriating Chinese Culture: Domestic Industrial Exposition, 1895 151 Saimitsuga for Industrialist Patrons 154 Katei’s Character 157 Contrasting Themes and Styles 158 5 “not a meiji painter”: katei’s reputation in the twentieth century 165 Critical Reactions 166 The Decline of the Japan Art Association 170 New Forms of Painting 171 New Role for Literati-Style Painting 172 Appendix 1 175 Katei’s Pupils 175 List of Known Pupils 178 Appendix 2 180 Contributors to Painting Manual from the Hall of Hoeing Fragrance 180 Translation of Texts from Painting Manual from the Hall of Hoeing Fragrance 180 English Preface to Painting Album of Flowers and Birds 183 Translation of Preface to Order of Colours 184 Appendix 3 185 Transliteration and Transcription of Inscriptions and Seals 185 Endnotes 193 List of Japanese Titles 223 List of Characters 225 Bibliography 230 Index 250 vi Acknowledgements This book developed from my doctoral collections. In particular, Takanashi Setsuko of the thesis, and over the past decade I have Kami-Hanawa Institute of History, Mogi Saheiji, incurred debts to a host of people. In the and Hasegawa Yōzō were tremendously kind and United States, I would like to thank the Institute of responsive to the unexpected (and sometimes Fine Arts, New York University, which provided unformed) requests of a researcher. Elsewhere, funding during my studies. I especially thank Mela- I would like to thank Ōkuma Toshiyuki (formerly nie Trede, formerly at the IFA (now at the Univer- of the Museum of the Imperial Collections), sity of Heidelberg), for her support and advice as a Yokomizo Hiroko of the University Art Museum, supervisor, colleague and friend. Jonathan Hay, Tokyo University of the Arts, Tateishi Naoyuki at Mariët Westermann, the administrative and library Koga History Museum, Takahashi Toshirō at staff , and many members of the IFA student body Naritasan Calligraphy Museum, Haga Yoshiaki at provided a superb working environment in which Sanjō City Library, and Kanayama Yoshiaki of to develop my understanding and enjoyment of art Hōsei University, who all kindly shared their time, history. At various stages, Patricia Graham, Joan knowledge, and ideas with me. Mirviss, Frederick and Joan Baekeland, Tamaki I would like to acknowledge the cooperation of Maeda, Kaikodō Gallery, and Stephen Payne all many institutions that facilitated my viewing of gave assistance and encouragement. Katei’s works, and later generously waived image In Japan, my thanks go to both the Japan Foun- reproduction fees: Seikadō Bunko Art Museum, dation and the Japan Society for the Promotion of Yamatane Museum of Art, Setagaya Ward Muse- Science for funding my two years of fi eldwork. Satō um, Kawanabe Kyōsai Memorial Museum (Wara- Dōshin of Tokyo University of the Arts, whose bi), Noda City Museum, Yoshizawa Memorial Mu- work has helped transform the study of Meiji-era seum of Art (Sano), Ueno Memorial Hall (Bunsei art history, served as my adviser, and his enthusi- University of Art, Utsunomiya), Nagasaki Museum asm and dedication are inspiring. Kawai Masatomo of History and Culture, and also an anonymous pri- of Keiō University kindly made introductions and vate collector. Curators in Tokyo at Matsuoka has always off ered support and sound advice, and Museum of Art, Shibusawa Memorial Museum, Kobayashi Tadashi welcomed me into his kanbun and Ueno Royal Museum, and Northern Culture seminar at Gakushūin University. Through Robert Museum in Niigata, also gave freely of their time. Campbell of Tokyo University I was able to learn It has been a pleasure making the acquaintance more of Meiji-era literature, and my consideration of Yamamoto Yuriko (née Taki), and an honour to of the activities of the Hōbunkan publishing house join her in remembering her great-grandfather. in Chapter 2 depends entirely on his painstaking re- The Ueno Early Modern and Modern Art History search. My experience in Tokyo would have been Research Group and the Modern Japanese History the poorer without the friendship and practical Workshop each provided a forum to present my re- help of Kobayashi Fumiko of Hōsei University. search. I was fortunate to enjoy the friendship and I have her and also Hashimoto Chiho to thank for community of the good folk of St. Alban’s-by-St. patiently leading me through numerous inscrip- Andrew’s, Kamiya-chō. tions and texts. Murakado Noriko, Sadamura Koto In the United Kingdom, I express my deep grati- and Kubo Sachie gave very generous assistance in tude to Timothy Clark of the British Museum, who transliterating three letters by Katei. introduced me to Katei’s work. Since my fi rst steps Many institutions and individuals in Japan de- on the curatorial path, he has given untiring sup- serve my thanks for making available their valuable port and advice, and has been a model of scholarly vii acknowledgements engagement. I hope this book will serve in some de- reading and commenting on the manuscript at an gree as a form of on-gaeshi. Israel Goldman, Angus early stage. Misa Takei, Kaneko Maki and Emura Lockyer of the School of Oriental and African Tomoko gave invaluable assistance with obtaining Studies, and Nicole Rousmaniere of the Sainsbury images and permission for reproduction. The Na- Institute for the Study of Japanese Arts and Cul- tional Museum of Scotland provided fi nancial sup- tures have also provided advice and assistance far port for the editing process, and supported me dur- beyond the call of duty. ing manuscript revision, which took me away from For the opportunity to publish my work, I owe the curator’s more practical duties. To my editor, thanks to John Carpenter of the Metropolitan Mu- Amy Reigle Newland, I cannot express suffi cient seum of Art, managing editor of Brill’s Japanese thanks for her patient understanding and expert Visual Culture series. Anna Beerens at Brill has hand, especially in the limited time available. Her done sterling work in moving forwards a some- superlative skills have brought clarity and legibility times complex project. I would like to thank the two where it was sorely lacking. anonymous readers, who gave useful pointers Finally, the following would not have been pos- to the direction in which the manuscript should go. sible without the loving support (and forbearance) I am also indebted to Paul Berry in Kyoto for of my husband, Ian Astley. viii Note to the Reader Japanese terms are transcribed using in the inscription. The assumption has been that the modifi ed Hepburn system, where “n” indi- traditional ‘inclusive counting’ (kazoe-doshi) was cates the nasal before bilabials, e.g., Manpukuji, used to indicate age, in which a child was in ‘year 1’ not Mampukuji, or Kanpo, not Kampo. A ma- at birth. Thus, when calculating the date of a work, cron marks a long vowel, but its use is limited in “age 71” in an inscription is taken to mean produc- some cases, e.g., Tōkyō, when used as part of tion seventy years after the birth year. the Japanese name of an institution or publi- Japanese names are given in Japanese style, with cation  (Tōkyō Bijutsu Gakkō), but Tokyo when a family name before given name or art-name (gō). commonly known term in English. An apostrophe Subsequent references are by art-name alone, follows a syllabic nasal within a word, e.g., Man’an. where applicable. Names of Japanese institutions For historical periods, the usage is “Tokugawa appear in English translation in the captions and period” but “Meiji era,” as the former refers to a the main text, but in original form in citations and post-facto historiographical term but the latter to a the Bibliography. Original Japanese titles of illus- contemporary reign-name (nengō). English-lan- trated works are supplied in a list at the end of the guage month names are used only after 1st January volume. 1873, when the Gregorian calendar was introduced; In citations of sources, the publisher is omitted dates preceding 1873 are given as year/month/day, where this is the same as the editor of the volume. e.g., 1853/12/5 when not written descriptively. Translations of Japanese book titles are given in the The calculation of the date of production for Bibliography. works is often based on the artist’s age as recorded ix x