Cultural Diplomacy, Nationalism, and Oriental Arts: The Exhibition of Masterpieces of the Song, Yuan, Ming, and Qing Dynasties in 1931
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This study explores the intersection of cultural diplomacy, nationalism, and the arts during the 1931 exhibition of masterpieces from the Song, Yuan, Ming, and Qing dynasties in Tokyo. The motivating questions are how cultural diplomacy was employed to mitigate political tensions between China and Japan, and what impact this had on their bilateral relations. The exhibition, held jointly by China and Japan and featuring over sixteen hundred paintings, was a significant cultural event aimed at fostering mutual understanding amid rising political tensions. Funded by the Japanese government under its “Cultural Policy toward China,” it served as a diplomatic tool to enhance Japan's influence in China. The study also includes visual analyses of key paintings exhibited during the joint exhibitions, assessing their stylistic features, provenance, and reception. Finally, the authors examine the modernity of originalist painters such as Shitao, Bada Shanren, and Xinluo Shanren as evaluated by Japanese art circles in the early twentieth century.
Abstract
This study explores the intersection of cultural diplomacy, nationalism, and the arts during the 1931 exhibition of masterpieces from the Song, Yuan, Ming, and Qing dynasties in Tokyo. The motivating questions are how cultural diplomacy was employed to mitigate political tensions between China and Japan, and what impact this had on their bilateral relations. The exhibition, held jointly by China and Japan and featuring over sixteen hundred paintings, was a significant cultural event aimed at fostering mutual understanding amid rising political tensions. Funded by the Japanese government under its “Cultural Policy toward China,” it served as a diplomatic tool to enhance Japan's influence in China. The study also includes visual analyses of key paintings exhibited during the joint exhibitions, assessing their stylistic features, provenance, and reception. Finally, the authors examine the modernity of originalist painters such as Shitao, Bada Shanren, and Xinluo Shanren as evaluated by Japanese art circles in the early twentieth century.