Chinese Painting In The Eyes Of Japanese Artists At Early 20th Century

Nato Konan,an oriental historian, is well-known for his extensive knowledge on sinology andplays an important role in international academia of Chinese studies. His book,Chinese Painting History, was the first academic work to systematically review the history of Chinese painting in modern Japan. His research focuses on the paintings from Ming and Qing period, especially Chinese literati paintings, as opposed to the ancient Chinese art collection appeared during Meji and Daisho era, which, is contrary to most conservative views held in Japanese academia at that time. Therefore, the study of Chinese paintings in the twentieth century and their influence on Japanese paintings and opinions on Chinese Nanga in Japanese academia, cannot be completed without referring to Naito’s researches.This paper firstly has described the internal and external reasons of formation of Naito Konan’s Art thoughts, and then secondly analyzed “The History of China Painting”, which exploring his art thoughts, and pointed out the problem of“passing off fish eyes for pearls”. The third chapter in this paper clarified that Naito’s great influence on the field of Painting both in Japan and China, by discussing on the situation of his respected “Southern painting”. Through the discussing on China’s painting research referred to Naito Konan’s Art thoughts systemically, it will not only be helpful for understanding the ideals of art thoughts history in 21 century, but also for understanding the different appreciation views of art exchanges history. As a young learner, investigating the foreign researcher, who is called Naito Konan, his China painting research systemically, is good for us to think about the nationality of China painting and the issues of how to inherit and develop forward the China painting. The current paper aims to improve the understanding of art history around the twentieth century and differences of art appreciation between China and Japan, by reviewing Naito’s relative studies on Chinese painting and their respective impacts.