Index
academicism
91–92
Accounts of Ancient Matters (Kojiki)
56
Ai Zhongxin
131
Akasaka Palace
20–21
Alberti, Leon Battista
De pictura
13
The Analects (Confucius)
21
ancient Greece, and China
14–15, 17–19, 21–22, 28, 41–42, 86–87, 100
ancient Greek art, nude ideal
61, 64
Anderson, William
183
Andrews, Julia
181
Anti-Japanese War of Resistance
136, 161, 165
Anti-Japanese War Pictorial Journal
175
Aoki Shigeru
56
art history
22
and China
5, 17, 19, 22, 27–31, 36, 38, 165
decentering Europe in
3
decolonizing
4
in East Asia
5, 17, 19, 24, 27, 42
global
4
interactive
4
Marxist perspective in
6, 165
and nationalism
4, 18, 137
nationalist versus transnational perspectives
1, 113–14
and regionalism
4–5, 17, 20, 42, 59, 84, 110, 111, 139–40, 176, 179–80, 185
and temporality
3, 10–11, 25, 35, 41
transnational perspectives
1, 4, 114
Ashikaga Yoshimasa
126
Asia
China/Japan competition/conflicts in
8, 11, 19, 28
and Confucianism
18, 25
and regionalism
18
and temporality
25
transcultural movement
82–83
“Asianism”
17–19, 26, 170, 180–81
and China
85, 170, 176, 180
and India
170
and Japan
19, 85, 176, 180
as transnational
19
Bai Juyi
The Song of Everlasting Sorrow
152
Ban Gu
The Book of Former Han
114
Beckwith, Naomi
4
Benesch, Oleg
120
Berndt, Jacqueline
59
Besnard, Paul-Albert
89
Biancai
83, 106
Binyon, Laurence
23, 24
Painting in the Far East
23
The Book of Documents (Chinese)
82
Bose, Nandalal
170
Bouchard, Gérard
19
Buddhist art in oil painting
68–71
Bushell, Stephen
22–24
Chinese Art
22–24
bushidō
120–21, 126–27, 131–36
and Buddhism
136
and Confucianism
133
Cai Yong
29
Cang Jie
87, 92
Cangshen Mingzhi University
87
canon, meaning and formation of
43
in Nakamura Fusetsu
15, 80–81, 179
in Xu Beihong
8
Chatterjee, Partha
48
Cheena Bhavana
170
Chen Baoyi
165
Western Painting ABC
165
Chen Hengque
111
Chen Juzhong
Between Suwu and Li Ling
122
Chen Shizeng
38, 88
Chen Xiaowei
174
Chen Zhenxia
131
Chiang Kai-shek
151
China
ancient
14–15, 17, 36, 42
and ancient Greece
14–15, 17–19, 21–22, 28, 41–42, 86–87, 100
and art history
5, 17, 19, 22, 27–31, 36, 38, 165
and classicism
86, 98–101
and East Asia
1, 6, 8, 41, 43, 53
feminized depictions of
150, 152, 156–58, 176
Han Dynasty
21, 29, 30, 37
and history painting
12, 14, 52–53, 144, 158–59
idea of progress in
98
and imperialism
160–61
and India
144, 170
and Japan, competition/conflicts with
7–8, 11, 19, 28, 35–36, 38, 55, 80, 85, 111, 113, 127, 133, 135–37, 139–40, 145–46, 149–50, 160–61, 165, 175–76
lion imagery in
171, 173–75
masculinized images in
140, 142, 159, 176
and nationalism
84, 87, 158–59, 164
Opium War
18
and origin myth
17, 28, 86
Republic
44, 85, 86, 160, 181
Six Dynasties
22, 29, 106
and socialism
162–66
Song Dynasty
13, 17, 37, 88, 99, 122, 132
Tang Dynasty
17, 37, 83, 100, 132, 135
and temporality
11, 36, 41
as transnational concept
17, 24, 42
wartime imagery
140, 160–61
Xia Dynasty
82
China–India relationship
144, 170
Chinese art
17, 43, 44
art historical views of
22–24, 27–30, 37–39, 42, 181–83
and classicism
24, 29–31, 41, 99–101, 110
and Confucianism
12–13, 28, 100
Fu Baoshi on
80
and Greco-Roman art
17, 21–22, 28–35, 40, 42
historiography of
17–18
and Japanese influence
44, 79–80, 181, 183
Liu Haisu on
80
and Mao
6, 102, 177
and Marxism
6, 102, 165
masculinity in
16, 139, 140, 142, 159, 168–69, 171, 173–76
and modernity
9, 18, 31, 41–42, 86, 127
Nakamura Fusetsu on
9, 17, 27–31, 37–38, 45–47, 106–107, 109
and nationalism
5–7, 87, 110–12
and realism
80, 88, 98–100
and regionalism
15, 42
and Soviet art
165–67
and tradition
88
transnational views of
18, 181–83
Xu Beihong on
79–80
Chino Kaori
139
Chiossone, Edouardo
Portrait of Emperor Meiji
143
Cinquini, Philippe
89
Clark, John
Modern Asian Art
7
classicism
35, 92
and academicism, difference between
91–92
in art
11, 19–20, 25–26, 50, 61
in China
86, 98
.
Nakamura Fusetsu, and classicism; Xu Beihong, and classicism
and Chinese art
24, 29–31, 41, 100–101, 110
dual temporalities of
35
in East Asia
10–11, 19–20, 25, 35, 81, 179
and Europe
17, 20
in France
88–92
and Greece
17, 20
and Japanese art
25–26, 110
as language of power
20
and nationalism
83–84, 86
Shelley on
20
Clunas, Craig
184
Cocteau, Jean
88
Confucianism
4, 12, 18, 22, 115, 175
attack on
22
in China
115
and Chinese art
12–13
and classicism
21–22, 100
in Japan
15, 53–55, 115
and modernization
54
national adaptations of
4, 54
transformations in
53–54
and Western ideology
53
Confucius
12, 22, 92, 100, 133
The Analects
21
Cormon, Fernand
The Stone Age
57
Courbet, Gustave
99, 101
A Burial at Ornans
101, 164
The Stone Breaker
99, 164
The Critical Review
22
Croizier, Ralph
7
Art and Revolution in Modern China
7
Cultural Revolution
102
Dagnan-Bouveret, Pascal
89
datong
167
David, Jacques Louis
86, 89
Deng Shi
87
Derain, André
88
Doak, Kevin
85
Ducos de la Haille, Pierre-Henri
90–91
Du Fu
92, 94, 100, 132, 138
East Asia
7–8, 15
art historical writings in
5–7, 10, 17, 19, 24, 27, 42
and China
1, 6, 8, 41, 43, 53, 149
China/Japan competition/conflicts between
7–8, 11, 19, 28, 38
classicism in
10, 43
and Confucianism
4
gendered language in war
16
and history painting
13–14
and India
81
and Japan
8, 36, 81, 146, 149, 178
Nakamura Fusetsu on
26–28, 31, 39, 47–48, 55, 67–68, 71
and nationalism
5–6, 10, 18, 20, 177
and regionalism
17, 18 20, 42
and transcultural identity
18
and visual canons
15, 43
East Asian art
12, 26, 30, 81, 85, 179–81
and ancient Greece
29–35
and Buddhist art
74, 104
and canon formation
179
and China
18, 30–34, 39, 46, 112
and classicism
10–11, 19–21, 25, 35, 81, 179
and Confucianism
179–80
and Europe
179
and French influence
14, 92, 183
and Greco-Roman culture
14, 17, 20, 179
and history painting
12, 13, 184–85
and India
17, 21, 25, 28, 32, 39, 71, 81, 112, 180
and Japan
32, 35, 67–68, 103–4, 109, 112
and modernity
9, 179–80
Nakamura Fusetsu on
26, 30–31, 39, 47
and nationalism
5–7
and Neoclassicism
104
and nude painting
179–80
Ōmura on
31–34
and regionalism
17, 20, 27, 42, 185
themes in
4
transnational history in
6, 181–85
Eliot, T.S.
91
Emperor Hirohito
147, 149
Emperor Jimmu
140, 143, 145–49, 158, 176
Emperor Meiji
123, 143, 147, 149
Emperor Taizong
83
Emperor Wu
71–73
Félibien, André
13
Felten, Frank
182
Feng Zikai
The History of Western Art
86
Fenollosa, Ernest
78, 183
“The True Theories of Art”
78
Flameng, François
89
Foxwell, Chelsea
183
French academic art
1, 9, 12, 13, 14, 48, 50, 57, 60, 77, 92, 98, 102, 104, 180
and theater
77
French classicism
88–92
French Orientalist painting
153, 155
Freud, Sigmund
20
Friend of the Citizens (journal)
60
Fu Baoshi
5, 109, 127
on Chinese art
80
The History of Chinese Painting
5, 111
Xiao Yi Acquiring the “Orchid Pavilion Preface” by Treachery
107–109
Suwa Tending the Sheep
127, 129
Fudōsha (private art school)
45
fugu
10, 86, 99
Fujioka Sakutaro
38
History of Early Modern Painting
38
Fujishima Takeiji
8
Fujita Tsuguharu
Final Fighting on Attu Island
158
Fusetsu
.
see Nakamura Fusetsu
Fu Sinian
160
Gandhi, Mohandas K.
170
Gao Jianfu
87
Genghis Khan
53
“genre,” in art history
10, 184
Gérôme, Jean-Léon
121, 155
Gindhart, Maria
57
Giotto
24
global art history
2–4
and regionalism
4
Gong Zizhen
132
Gonse, Louis
183
Greater East Asia Co-Prosperity Sphere
149
Greco-Roman art, and Chinese art
17, 21–22, 28–35, 40, 42
gudian zhuyi
86
Gu Hongming
“The Revival of Chinese Culture on Japan”
135
Gu Kaizhi
23–24, 158
The Admonition Scroll
23, 104, 153
guo
86
Gu Yi
140
Hakui
125
Han Dynasty
21, 29, 30, 37
Harada Naojirō
56, 69–71
Kannon Riding a Dragon
69–70
Hardoon, Silas Aaron
87
Hardoon Garden
87
Hashimoto Gahō
144
Hashimoto Kansetsu
104
The Path to the Literati Painting
104
Hayami Gyoshū
104
Hegel, Georg Wilhelm Friedrich
20
Hishida Shunsō
122
history painting
12–14, 50, 93, 115, 144
and canon formation
12, 14
and China
12, 13, 144, 158–59, 177–78
and cultural heritage
10
and East Asia
13–14
in Europe
13, 50
in France
13–14, 102
in French theory
14, 50
as a genre
10, 12
and Greco-Roman art
14, 50
as group portrait
115
and Japan
12–13, 50–53, 144–45, 178
in Meiji period
145
and modern art
179
and Nakamura Fusetsu
1, 12, 45, 49, 57
and nationalism
10, 14, 51, 145, 181
and “new history painting”
144–45
and regional identity
14
and transnationalism
10, 14, 180–81
in wartime China and Japan
175–76
and Xu Beihong
89, 92, 102, 131
Ho, Christine
165
Holmes, Brooke
11
Hong Zaixin
165, 184
Horace
40
Hōryūji Temple (Nara)
26
Houyi
159
Huang Binhong
87
Huang Yongpin
6
“The History of Chinese Art in the Washing Machine for two minutes”
6
Hua Tianxue
99, 102
Hu Man
“The Art Movement Since the War of Resistance”
165
History of Chinese Art
6, 165
Ikeda Shinobu
60, 139
Ike Taiga
The Gathering at the Orchid Pavilion
104
Imperial Rescript on Education
54
Inaga Shigemi
182
Ingres, Jean-Auguste Dominique
89
Inoue Tesujirō
54, 121, 133
Ise Senichirō
The History of Chinese Landscape Painting
112
Ishii Hakutei
44, 112
Three Generations of Japanese Painting
112
Japan
art historical writings in
6, 19, 112
and bushidō
126–27
and China, competition/conflicts with
7–8, 11, 19, 28, 35–36, 38, 55, 80, 85, 111, 113, 127, 133, 135–37, 139–40, 145–46, 149–50, 160–61, 165, 175–76
and classical China
21
and Confucianism
15, 53–56
and colonial expansion
18
criticizing the West and Europe
54–55, 120–21
feminizing images of China
150, 152, 155–58
gendered language in
139, 149
history textbooks of
53
and imperialism
129, 139, 150
minzoku
85
and nationalism
84–85, 121
“national essence”
45
racial discourse in
67, 85
samurai culture
120
Shōwa period
118, 126, 147
Taishō period
78, 126, 152–53
and temporality
11
wartime imagery
150–51
and Western art exclusion
45
as world power
43, 145, 149
Japanese art
in art historical writings
24, 112
and Buddhist art
68–70, 104
and calligraphy
105–6
and Chinese influence
44, 52–53, 104, 106
and classicism
25–26, 110
and Confucianism
53
and gendered binary
139
and Greco-Roman culture
21
and history painting
12–13, 50–53
Kano school
75–77
literati painting
38, 78–79
masculinity in
16, 64, 139, 140, 142, 147, 149, 152, 158
modern canon formation in
44
and modernity
9, 46, 126
and nationalism
5, 6, 8, 42–45, 112
and Neoclassicism
21, 104
nihonga
26, 45, 50, 55, 78, 104, 122, 152, 157, 183
and nudes, meaning of
59–61
as old and new
36–37
portrayal of China
150–52
racial discourse in
67
Taishō period
78
and Western art exclusion
45
Ji Juemi
87
Jiang Jianren
132
Journal of Historical Science
67
Ju Ran
106
Xiao Yi Acquiring the “Orchid Pavilion Preface” by Treachery
108
Kang Youwei
21, 87, 88
The Book of Great Unity
167
“Discourse on Preserving Famous Historical Sites and Ancient Objects of China”
21
Extended Paired Oars
106
Kano Eitoku
75
Kyoyū and Sōho
75–76
Kano Yukinobu
75
Kawaji Ryūkū
146
Kinoshita Mokutarō
79
Kino Toshio
67
Kishida Ryūsei
104
Kitagawa Utamaro
155–56
Teahouse Waitress behind a Bamboo Blind
156
Women Sewing
156
Kobayashi Kiyochika
54
Kobayashi Kokei
104, 158
Kohara Hiroya
112
Kojima Kaoru
60
kokka
85
Kokka (journal)
26–27, 51, 59, 71, 78, 144
kokumin
85
Komura Seiun
History of Chinese Painting
38
Korean art, and colonialism
7
Kosugi Hōan
9, 104
“Oil Painters Return to the East”
104
Kosugi Seiun
The History of Chinese Painting
111
Kouno Toukoku
“The Promotion of New History Painting”
144
Kuiyi Shen
181
Kume Keiichiro
60
“The Nude Is the Foundation of Fine Art”
60–61
Kume Kunitake
67
The Chronicle of Japan
67
Kuroda Hoshin
The Outline of Japanese Art History
112
Kuroda Seiki
8, 26
Morning Toilette
60
Laurens, Jean-Paul
46–48, 64
The Agitator of Languedoc
73
League of Left-Wing Writers (China)
165
Le Brun, Charles
14
Leisurely Browsing Art Treasures (journal)
50
Leoussi, Athena
64
Liang Dingming
159
The Battle of Huizhou
159
Liang Qichao
21, 121, 133, 135
Chinese Bushidō
133
“Where Is the Chinese Spirit?”
133
Liao Jingwen
102, 131
Li Bai
92
Liberty and Civil Rights Movement
51
Liezi
140
Li Ling
122, 127
Lillehoj, Elizabeth
25
Lin Fenmian
“The Future of Eastern and Western Art”
86
Lingnan School
7
“liquid antiquity” (Holmes)
11
“liquid classicism”
10–11, 64, 81, 144
“liquid history” (Serres)
11
Li Ryō
122
literati painting
27, 32, 34, 38, 45, 75, 77–79, 104, 109, 152, 183
Liu Bang
114
Liu Haisu
5, 80
“The Art and Culture of Classicism and Romanticism”
86
Liu Kezhuang
132
Liu Xiaolu
7
Liu Xiyi
64
Liu Yu-Jen
182
Locher, Hubert
43
Lu Miya
“Chinese Bushidō”
134
Lunacharsky, Anatoly
165
Luo Zhenyu
87
Lu Xun
165
Maeda Seison
104, 158
Maeda Tamaki
183
Maki Kaneko
140
Mao Zedong
6, 102, 161, 177
Maruki Toshihiro
Portrait of Emperor Meiji
143
Maruyama Masao
144
Masaccio
64
Expulsion of Adam and Eve
66
masculinity
in Chinese art
16, 139, 140, 142, 159, 168–69, 171, 175–76
in Japanese art
16, 64, 139, 140, 142, 147, 149, 152, 156, 158
Matsumoto Fūko
54
Maybon, Albert
5
May Fourth Movement
22, 38, 86, 99
Ma Yuan
77
Meiji Art Society
8, 45
Meiji period
4, 35, 52, 54–56, 68, 106, 120–21, 126, 136, 142, 144, 145, 147, 150
Meiji Shrine
123
Mencius
100, 115, 127
Michelangelo
94
The Dying Slave
94, 96
Millet, Jean-François
99
minzoku
85
Mito School
48
Mitter, Partha
2
Mitter, Rana
140
Miyamoto Saburō
Fierce Fighting Near Mount Nicholson, Hong Kong
158
modernity
and ancient China
18
and Chinese art
41
construction of
20
and classical art
31, 41
and Japan
35
and Japanese art
9, 46, 126
Mokuran
152
Moxey, Keith
3, 4
Murthy, Viren
35
Nakajima Yumiko
152
Nakamura Bizan
“In Support of the Publication of the Japanese History Painting Models”
52
Nakamura Fusetsu
1–2, 7–9, 12, 15, 17, 24, 38–39, 43, 179–80
The Anatomy of the Human Body
61
“The Anatomy of a Rooster”
37
on ancient China
18, 36–37
Arhats Pantheka
71
“The Art of France”
47–48
art writings of
17, 27–31, 37–38
“The Beauty of Body”
61
Bhadra
71
Buddhist subjects in
68, 71, 73–74, 81, 179
on calligraphy
104–6
and canon formation
15, 80–81, 179
in China
9, 45
on Chinese art
9, 17, 27–31, 37–38, 45–47, 107, 109
Chinese Landscape
46–47
Chinese reception of
45, 81, 102–3
Chinese subjects in
55, 67, 104, 106–107, 109
and classicism
11, 24, 31, 44–45, 55, 59, 61, 75, 79, 81, 88, 92, 102, 104, 142, 179
and Confucianism
9, 15, 61, 64, 67–68, 81, 88, 179
“The Deity of Sheep”
34
on East Asian art
26–28, 31, 39, 47–48, 55, 67–68, 71
Emperor Wu of the Liang Dynasty Meets Bodhidharma
71–72, 74–75
“The evolution of the character Ram (Yang)”
32
as forgotten
8, 27, 177, 178
Founding of the Nation
1–2, 55–57, 64, 101
French influence in
46–48, 57, 77, 153, 155, 180
gender politics in
140–42, 147, 149
and genre
1
The Grey-Haired Man
55, 64–65
Hakui Shukusei
125
“Han Envoy Delivering the Message to Sobu”
123
History of Chinese Painting
27–30, 38, 77, 109, 111
and history painting
1, 12, 45, 49, 57
The Huaqing Pool
152
illustrations of Sobu
122
“Image of Capturing a Sheep in Ancient Egyptian Art”
33
and imperialism
15, 109, 110, 149
and India
81
The Integrity of Sobu
113, 114, 116, 118, 124, 127, 129
“In the 9th Year of Yonghe”
103, 105
The Invention of the Script
105
on Japan
36, 109
Japanese reception of
79
Kanakabharadvāja
71
Kaseichi
154
and literati tradition
77–78, 109
loyalty portrayed in
122, 124–25, 127
masculinity in
64, 142, 147, 149, 158
“The Music of Pan from the Greek Mythology”
35
and nationalism
1, 9, 15, 24, 26–27, 45, 55, 57, 67–68, 79, 81, 84, 110, 122, 126–27, 137, 147, 157
and Neoclassicism
104
nudes in
55–61, 63–64, 67, 81, 152, 157
Obtaining the Preface to the Orchid Pavilion by Trickery
82–84, 101, 102, 105, 106, 109
The Old Object and New Man
152, 157, 158
“The Origin of Chinese Characters”
109
and origin myths
28
in Paris
9, 46, 48, 54, 61, 64
“The Philosopher of Parchment Paper”
36
“Physiognomy according to the 17th century French artist Charles Le Brun”
49
“The Pioneer of Han Ri Script Sakuma Shōzan”
48
“The Principle of the Imperial Art Exhibition”
109
realism in
116
and regionalism
15
“The Sacred Image of Emperor Jimmu”
140–43, 147, 158
The Sea Battle against Russia on the Japan Sea
122–25
self-portrait
116–17, 127
“Sketches of Northeastern China”
46
“Sobu Returning to the Han Empire”
124
Sōho Refuses to Drink Dirty Water
68, 74–75
Suwu Tending the Sheep
128
temporalities in
35–36
“Thirty Images of Ram”
30–31
training of
9, 27, 45–48, 101
as transcultural
44–45, 60, 68, 81
Vimalakirti
68, 71, 74, 79
visual language of
78, 81
“The War and the Art”
149
and Western art
48, 55, 57–58
on world culture
28
and Xu Beihong, comparing
1, 8–10, 15–16, 80, 82–84, 88, 101, 137–38
Nakamura Gakuryō
Yōkihi at Bath
156
“The National Art Project for the History of Chinese Civilization”
177
National Essence intellectuals
9
nationalism
84–85, 112
and art history
4, 18
and China
84, 87, 127
and Chinese art
5–7
contradictions of
16
and East Asia
5–6, 10, 18, 20
and Fusetsu
1, 9, 15, 24, 26–27, 45, 55, 57, 67–68, 79, 81, 84, 110, 122, 126–27, 137, 147, 157
and Japan
84–85, 121, 127
and Japanese art
5, 6, 8
and Okakura
24, 26
and minzoku
85
multiple forms of
4
paradox of
118, 127
and transnational forces in art
110
and Xu Beihong
1, 15, 84, 88, 102, 129, 131, 132, 164
Nationalist Party (China)
84, 102, 130, 131, 159
national myths
20
The Nation of Beauty (journal)
146
New Cultural Movement
22
New Life Movement (China)
159
“New Realism” (China)
165
Nietzsche, Friedrich
20
nihonga
26, 45, 50, 55, 78, 104, 122, 152, 157, 183
Nishiyama Suishō
Short Summer Night
168
Nitobe Inazō
133, 135
Bushidō: The Soul of Japan
121, 136
Ögedei Khan
53
Ō Gishi
104
Okakura Kakuzō
5, 24–26, 38, 42–43, 78, 112, 144, 171
on China
36
classicism in
25
on historical painting
51
The Ideal of the East with Special Reference to the Art of Japan
5, 24–26, 67, 170–71
on judging paintings
51
as nationalist
24, 26
temporality in
25, 35, 36
as transnational
24
Ōmori Ichū
52
“The Need for History Painting”
52
Ōmuka Toshiharu
139, 182
Ōmura Seigai
31–32, 38, 43
on literati painting
32, 34, 38
The Revival of Literati Painting
79
A Short History of Chinese Painting
111
A Short History of East Asian Art
32
Study on Literati Painting
38
Opium War
18
Paléologue, Maurice
22–23, 28, 40
L’Art Chinois
22
Pan-Asianism
24, 25, 109, 170
Pan Tianshou
5, 38
Pelliot, Paul
71
Phidias
94
Picasso, Pablo
88
Polykleitos
Doryphoros
94
Poussin, Nicolas
88
Preziosi, Donald
18
Puvis de Chavannes, Pierre
89
Qian Xuan
106
Qiu Ying
106
Qu Yuan
52
Nine Songs
171
Raphael
The Three Graces
58–59
Rappel à l’ordre (Return to Order)
88–89
realism
in art
88, 99–100
in Nakamura Fusetsu
116
and Xu Beihong
9, 99–100
rekishiga
13, 50
Richer, Paul
61–62
Rodin, Auguste
94
Age of Bronze
94, 97
Ruoff, Kenneth
147
Russo-Japanese War
18, 43, 120, 123, 145
Saisui (art critic)
44
Sakuma Shōzan
48
Sakuma Shōzens
48
Sasakaw Rinfū
79
Satō Dōshin
4, 59, 182
on nude painting
59
on regional art history
4–5
Schlegel, Friedrich
20
School of Japanese Art
67
Schwartz, Emmanuel
163
Serres, Michel
11, 36
Shandong Problem
134–35
Shaw, Bernard
163–64
Shelley, Percy Bysshe
20
Shiga Hidetaka
45
Shinobu Ikeda
60, 139
Shinto
5
Shi Yan
The History of Eastern Art
112
Shukusei
125–26
Sima Qian
92, 136, 157
The Record of the Grand Historian
101, 114, 125, 131–32, 137, 157
Sino-Japanese War
43, 80, 109, 111, 120, 127, 136, 160
Six Dynasties
22, 29, 106
Smith, Anthony
112
Sobu
114, 115, 118, 121–22
Chinese version
118, 120
Japanese version
120, 124
socialist art
.
Xu Beihong: and socialism
and China
9, 165–66
as international
165
and Xu Beihong
9
Society of Cang Jie Study
87
Socrates
21, 22
Soga Shōhaku
75
Sōho
74–78
iconography of
77
Sōkitsu
29
Song Dynasty
13, 17, 37, 88, 99, 122, 132
Stein, Aurel
71
Stele School
105, 106
Stephens, Susan
20
Sullivan, Michael
162
Art and Artists of 20th Century China
8
Summers, David
Real Spaces: World Art History and the Rise of Western Modernism
2
Sun Tzu
158
Sun Yat-sen
85
Suwu
114, 122, 127
Tagore, Rabindranath
170
Takayama Chogyū
52
Takeuchi Hisakazu
147
Portrait of Emperor Jimmu
147–48
Takezawa Yasuko
67
Taki Seiichi
27, 59, 78, 144
“Tanyū and History Painting”
144
The Tale of Heike
118, 120
Tang Dynasty
17, 37, 83, 100
Tang Yihe
War and Peace
160–61
Tansman, Alan
127
Tan Yunshan
170
Tazawa Denken
146
Teng Gu
5
Tian Han
131, 136
Tian Heng
114–16, 118, 129–37, 171
Tokyo Imperial University, ethics program
54
Tokyo School of Fine Arts
8, 26, 45, 78
Tomizawa-Kay, Eriko
182
Tomoko Kira
60
Torsten, Weber
85
Toyama Masakazu
70–71
Toyota Yukata
“The Revival of History Painting”
144–45
transcultural movement
84
Tseng, Alice
59, 60
Tsuchida Bakusen
104
Tsuda Sōkichi
121
Tsunashima Ryōsen
52
Uccello, Paolo
The Battle of San Romano
126
Ueda Sayoko
52
Uemura Shōen
152
Yōkihi
152, 155
Vasunia, Phiroze
20
Velázquez, Diego
Venus at Her Mirror
153
Vimalakirti
74
Volk, Alicia
60, 182
Wakakawa Midori
60, 70
Wang, David Der-Wei
162
Wang Bomin
6
Wang Cheng-hua
88, 184
Wang-Dao
175
Wang Guowei
87
Wang Shu-Chin
8
Wang Wei
40
Wang Xizhi
83, 104–5
Preface to the Orchid Pavilion
105, 106
war art of China and Japan
175
masculinity in
140, 149–51, 175–76
wartime rhetoric, in China and Japan
139, 143
gendered language in
139–40, 149–50
Watanabe Seitei
Butterfly
60
Watanabe Toshio
182
Wen Fong
8
Winckelmann, Johann Joachim
20, 24, 40
Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture
40
Winther-Tamaki, Bert
139, 150, 182, 183
Wong, Aida
183
Wu Hung
2, 10
Wu Liang Shrine
12
Wu Mi
22
Wu Peifu
135
Wu Xueshan
118
Wu Zouren
171
Yellow Emperor Defeating Chiyou
160
xianshi
99
Xiao Yi
83, 106–109
Xie Haiyan
103
Xie He
26
“Six Laws”
17
xieshi
99
Xu Beihong
1, 7–8, 12, 15, 68, 79, 81, 82, 170, 177, 180
Activating New Life
171–72
The Boatmen
166, 168
and Buddhism
170
and bushidō
131, 132, 136–37
as canonical
8
on Chinese art
39–41, 79–80
and Greek art
40
and classicism
11, 41, 84, 86, 89, 92–94, 97–101, 142
and Confucianism
9, 15, 82, 100, 115, 165, 167
exhibition of Chinese art
41
The Foolish Man Moving the Mountain
140, 142, 143, 160–62, 168–70, 177
and French influence
9, 40, 89, 94, 101–2, 136, 164, 180
gender politics in
140, 142
and genre
1
and history painting
89, 92, 102
The Horse Reader Jiufanggao
102, 164
and India
170–71
in Japan
9, 88
on Japanese art
79–80
laborers/workers in
140, 142–43, 158, 162, 168–69, 171
Lion and Snake
173–74
lions in
171–75
and Marxism
102
masculinity in
142, 171, 175–76
Meeting in Tokyo
174–75
in Moscow
142, 166, 171, 175
and Nakamura Fusetsu, comparing
1, 8–10, 15–16, 80, 82–84, 88, 101, 137–38, 140
and nationalism
1, 15, 84, 88, 102, 129, 131, 132, 164
“On the Difficulty of History Painting”
131
in Paris
9, 84, 88–89, 92
“Peinture Chinoise”
39
and realism
8, 9, 80, 99–100, 132, 162, 164
and socialist realism
9
self-portrait
118–19
social critique in
102
and socialism
162–69
Study of Human Body
95
“To the Art Society of the Morning Glory”
89
on taste
40
Tian Heng and His Five Hundred Retainers
90, 101, 113–16, 129–30, 136–37, 164, 168
interpretations of
130–31
reviews of
130–31
training of
9, 87, 89, 101
as transcultural
84, 88
Waiting for the Deliverer
1, 3, 82, 84, 101–102, 110, 131, 164
Water Carriers of Sichuan
166–67
Xu Shaozeng
165
Xu Zhimo
103
Yamamoto Hōsui
The Twelve Zodiac: Ram
121
Yamanashi Toshio
52
Yamashita, Samuel
54
Yang Jinhao
102
Yang Shoujing
105
Yan Liben
106
Xiao Yi Acquiring the “Orchid Pavilion Preface” by Trickery
105
Yashiro Yukio
6
Yashuda Yukohiko
Camp at Kisegawa
145
Yasuda Yukihiko
9
Sun Tzu Trains Court Ladies
157
Yellow Emperor
92
Yōkihi
53, 152, 155–56
Yokokawa Kiichirō
146
Yokoyama Taikan
Kutsugen
52–53
Yorozu Tesugorō
104
Dunes
104
Yoshida Chizuko
7
Yu Jianhua
111
Yukinaga
The Tale of Heike
118
Zhang Anzhi
Houyi Shooting the Sun
159–60
Zhang Daofan
102, 159
Zhang Daofeng
102
Zhang Shanzi
171
Zhang Yanyuan
17, 39
Records of Famous Paintings of Successive Periods
17, 39
Zhao Mengfu
127
Two Rams
127
Zheng Wuchang
38–39
The Complete History of Chinese Painting
38
Zhen Yiduo
86
“What Is Classicism?”
86
Zhi Tian
130
Zhou Enlai
102
Zhu Wanzhang
106