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兒島薰(Kojima Kaoru),정다움(번역자),김용철 미술사연구회 2009 미술사연구 Vol.- No.23
In 1726, Tokugawa Yoshimune, the 8th Taikun, received five oil paintings from Holland. The two of them were hung on the wall in the Gohyaku Rakan-ji (Temple of Five Hundred Arhats) in Edo by 1728. One was a painting of various kinds of flowers, and the other was of many sorts of birds including a peacock. The temple was one of the famous places in Edo, and gathered numbers of visitors. However, it took a couple of decades for Japanese painters to receive the impact of these Western paintings. Chen Nanpin, a Chinese painter was invited to Japan in 1731 and stayed in Nagasaki for about two years. He made colourful paintings with birds and flowers that pleased Yoshimune and Daimyos. The Nampin-style became popular among painters in Kyoto and Edo by the end of the 18th century, and even some of Daimyos leaned the style. The fact that we can find copies of the Dutch birds painting made in Nampin-style helps us to understand how Japanese people received the Western paintings. It means that the Dutch paintings were regarded as a sort of“Chinese”birds and flower paintings. In other words, they received Western culture within“Chinese”cultural system. It was because Japan was under the China-central system at the period. Elites in the Edo period respected highly Chinese literati culture. It is said that“Akita Ranga”(Akita School of Dutch-style Paintings) was the earliest experiment in Edo period to produce Western-style paintings during An’ei period (1772-1780). They seemed to study perspective and chiarosculo from Western books and prints, but they still used traditional Japanese technique. It is not easy for us to understand their works were made in“Western”style. Subjects and details of“Akita Ranga”show their respect for Chinese literati culture as well as Western culture. However, “Akita Ranga”has been regarded as a pioneer of modern Westernstyle painting in Japanese art history from the early 20th century. After Sino-Japanese war and Russo-Japanese war, Japan formed its national identity as the most“Westernised” nation in East-Asia and justified its invasion to Asian countries. It was the reason why Japanese reception of Western culture in the 18th century was explained only in the relationship of the West and Japan. However, reception of Western paintings in Edo period needs to be analysed as a part of encounters of China and West.
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