@article{oai:tobunken.repo.nii.ac.jp:00006123,
 author = {鶴田, 武良 and Tsuruta, Takeyoshi},
 issue = {383},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Aug},
 note = {The 1920s, or in Japan's era dating system, Taishô 10 through Shôwa 4, marks the greatest period of artistic interaction between Japan and China during the 20th century. Ishino Tetsuhiro's establishment of the Chûnichi Bijutsu Kyôkai (the Sino-Japanese art association) in Shanghai is representative of the trend. The Chûnichi Rengo Bijutsu Tenrankai (the Sino-Japanese joint exhibition of art ) were held by the group, which also planned to build the association's house (Chûnichi Bijutsu Kaikan). Similarly, Ômura Seigai, Wu Changshuo, Wang Yiting, and others built the Xihu youmei shuhuashe (J: Seiko yubi shogasha) as a place for artistic interchange between Japan and China. Ômura Seigai published the Yuyu jinhualu (J: Uiki kingaroku) about contemporary Chinese painting, including short biographies of painters. Watanabe Shinpo and Araki Jippo proposed a series of exhibitions, the Nikka (Chûnichi) Kaiga Rengô Tenrankai (the Sino-Japanese joint exhibition of paintings), held in alternate years in China and Tokyo for a total of five exhibitions. In the process of preparing for the 4th Nikka (Chûnichi) Kaiga Rengo Tenrankai, the scale of the exhibition was expanded and exhibitions were held in two cities each in both China and Japan. A further expansion of the group's plans called for the establishment of a “Dongyang meishu yanjiushi” (J: Tôyô bijutsu kenkyûshitsu) in Beijing. Construction of this new facility became the impetus for the 1926 establishment of the Dongfang huihua xiehui (J: Tôhô kaiga kyôkai). The Chûnichi Bijutsu Kyôkai published the magazine Chûnichi Bijutsu, and the Chinese members of the board of councilors and special members included Kang Youwei, Zhang Ji, Zheng Xiaoxu, Wang Yiting, Liu Haisu, Zheng Jin, and Gao Jianfu, while the Japanese members included Masaki Naohiko, Ijûin Hikokichi, Inukai Tsuyoshi, Shibusawa Eiichi, Dan Takuma, Yamamoto Teijirô, Takamura Kôun, Okada Saburôsuke, Fujishima Takeji, and Dômoto Inshô. These membership lists thus include many of the celebrities from the political and artistic realms of the day and the magazine flourished for a brief period.
     The Nikka Kaiga Rengô Tenrankai held for a total of five exhibitions marked the first exhibition to introduce the contemporary paintings of both Japan and China. Today the very existence of either the organizing group or its exhibitions has been largely forgotten.
     This article introduces the establishment process and activities of the groups mentioned, and the organizing process and contents of the Nikka Kaiga Rengô Tenrankai exhibitions, as well as critiques of Japanese paintings that appeared in Chinese newspapers. The catalogues of works displayed in the first through fifth exhibits of the Nikka Kaiga Rengô Tenrankai are published separately as “Research Materials.”},
 pages = {1--33},
 title = {日華（中日）絵画聯合展覧会について―近百年来中国絵画史研究　七―},
 year = {2004}
}