亚洲展览提案-艺术中的觉醒

Awaken in Art:

Nationalism and Modernization in Meiji Japan and China's Self-Strengthening Movement

Abstract:

The exhibition proposal, "Awaken in Art: Nationalism and Modernization in Meiji Japan and China's Self-Strengthening Movement," investigates the journey of self-discovery and the pursuit of individual freedom within the constraints of historical contexts. The objective is to identify a form of modernity that aligns with the unique circumstances of each country, moving beyond both Western Orientalism and self-Orientalism while avoiding excessive pride or self-deprecation.

The three paintings showcased in this exhibition draw inspiration from both Eastern and Western cultural contexts and historical backgrounds. By combining elements from both worlds, the artists seek to find a balance between East and West. These artworks aim to embrace contemporary nationalism, alleviating the sense of oppression driven by the rapid changes of their respective eras. They reflect the impact of nationalist movements in China and Japan at the turn of the 19th and 20th centuries, exploring the challenges of identity, cultural preservation, and the absorption of foreign influences. This exhibition embodies the themes of nationalism and modernization during Meiji Japan and China's Self-Strengthening Movement, emphasizing the delicate equilibrium between tradition and modernity.

Introduction:

Works of art are often a mirror of history. Through works of art, we see historical and cultural changes. The clash and fusion of Eastern and Western cultures are one of the climaxes of modern art. From feudal society to democracy, Japan and China both went through a rough time. Though China and Japan's modernization process looks similar, Westernization's impact on the two country's cultures is very different. This exhibition focuses on masters and their artworks that reflect their thoughts and ideology at that time.

First Exhibition:

Kiyochika's Mount Fuji from Abekawa captures Japan's political and social changes during the Meiji period (1868-1912), a time of rapid modernization and Westernization. The painting blends traditional and modern elements, reflecting a search for nationalism and the artist's identity in the midst of these transformations. He successfully combined Eastern and Western art, demonstrating national pride and a determination to both protect Japanese culture and embrace new influences from the Meiji era. His modernist paintings with traditional elements encourage viewers to reconsider the relationships between Westernization, modernity, traditional culture, and nationalism.

The painting features traditional Japanese architecture, the national symbol of Mount Fuji, Japanese script, and modern elements such as electric lights and wires1. The contrasting lighting highlights Mount Fuji as the protagonist, symbolizing the Japanese nation's enduring spirit amidst the city's darkness. This composition emphasizes the importance of preserving one's cultural identity while adapting to change. Kiyochika's prints prompt viewers to seek their own symbolic identity, as he did not blindly accept Western influences but instead developed his own unique style. By striking a balance between tradition and modernity, Kiyochika's Mount Fuji from Abekawa serves as a reminder of the importance of preserving cultural heritage while embracing new ideas and changes.

1 “Mount Fuji from Abekawa ,” S2003_8_1116, accessed April 4, 2023, https://visualizingcultures.mit.edu/kiyochika_tokyo/gallery/pages/s2003_8_1116.htm.

Second Exhibition:

Yokoyama Taikan, a prominent Japanese painter from the Meiji and Taisho periods, exemplified the influence of nationalism and modernization in his artwork "Metempsychosis." As Japan transformed from a feudal society to a modernized, industrialized nation during the Meiji period, promoting national pride and identity became crucial, which is evident in Taikan's work. His art incorporates elements of traditional Japanese culture, such as gold leaf and nature depictions. In "Metempsychosis," Taikan uses a modern, abstract style to portray conventional Japanese themes, as the ghostly figure demonstrates2. This figure represents the transmigration of the soul in a swirling, ethereal form with flowing lines and vivid colours, reflecting modernist art movements more than traditional Japanese art. This blend of styles represents Japan's efforts to modernize and compete with the West while preserving its cultural heritage.

Furthermore, Taikan employs gold leaf, a traditional Japanese technique, in a modern and innovative manner in "Metempsychosis." The gold leaf surrounds the ghostly figure, creating a modern, otherworldly effect. This combination of traditional Japanese techniques and contemporary, abstract styles embodies Japan's attempts to balance cultural preservation with embracing modernization.

2 “Paintings : Japanese-Style Paintings Metempsychosis,” 独立行政法人国立美術館・所蔵作品検索, accessed April 7, 2023, https://search.artmuseums.go.jp/records.php?sakuhin=2807.

Third exhibition:

In the early twentieth century, China experienced the fall of the old dynasty and the establishment of a new political system. China proclaimed itself a republic in 1912, with Sun

Yat-sen serving as the first president following the fall of the Qing Dynasty in 1911. The

invasion of Western culture and ideology played a crucial role in this change of regime. If the Meiji Restoration movement in Japan was a successful case of a regime that conformed to Western ideology, the collapse of the Qing Empire in China was a classic example of a regime that fell apart under the impact of Western ideology. The painting was painted in 1918, the sixth year after the establishment of the Republic of China. At a time when Chinese and Western ideologies were in conflict, most of the artists of the traditional Chinese school of painting still insisted on maintaining the characteristics of literati painting.

Chen Shizeng is one of them.In Viewing Paintings, the Chinese painter Chen Shizeng

(1876-1923) depicts a mixed Chinese and Western crowd admiring a scroll at an exhibition held to raise funds for charity in Beijing during the political and military turmoil of the early twentieth century in the Republic of China. This painting is a traditional Chinese literati painting. Chen Shizeng (陳師曾, 1876-1923), original name Chen Hengke (陳衡恪), believed in the value of traditional Chinese painting, although he favoured experimenting with innovative techniques and learning from Western art. His figure paintings are mostly inspired by contemporary life, often based on sketches of life in the streets and

alleys.

Conclusion:

In conclusion, the three exhibits underscore the pivotal role of art in shaping national identity during times of transformation. Meiji Japan astutely blended traditional aesthetics with Western influences, creating a unique artistic identity that supported modernization efforts. Conversely, China's Self-Strengthening Movement needed help finding a cohesive artistic direction, reflecting the nation's challenges in modernizing effectively. Through the lens of art, we can appreciate the delicate balance between nationalism and modernization, emphasizing the power of creative expression in fostering cultural resilience and enabling nations to thrive in a rapidly changing world.

Bibliography

“Metempsychosis (Yokoyama Taikan).” DBpedia. Accessed April 4, 2023. https://dbpedia.org/page/Metempsychosis_(Yokoyama_Taikan).

“山種美術館.” 150th Anniversary Exhibition:Yokoyama Taikan ―The Elite of the Tokyo Art World [Past Exhibition] - Yamatane Museum of Art. Accessed April 4, 2023. https://www.yamatane-museum.jp/exh/english/2018/taikan.html.

Hua, Sue. “Disruption, Digitalization and Connectivity: Asia's Art Market in Transformation.” MDPI. Multidisciplinary Digital Publishing Institute, May 13, 2022. https://doi.org/10.3390/arts11030057.

“Mount Fuji from Abekawa .” S2003_8_1116. Accessed April 4, 2023. https://visualizingcultures.mit.edu/kiyochika_tokyo/gallery/pages/s2003_8_1116.htm.

“Paintings : Japanese-Style Paintings Metempsychosis.” 独立行政法人国立美術館・所蔵 作品検索. Accessed April 7, 2023. https://search.artmuseums.go.jp/records.php?sakuhin=2807.