廉泉と大村西崖の交友―― 『大村西崖宛　廉泉書簡』『南湖東遊日記』を主な手掛かりに――

This article provides a detailed consideration of the friendship in the 1910s and 1920s between Ômura Seigai（大村西崖）, a Japanese specialist in Chinese art history, and Lian Quan（廉泉）, a Chinese painting and calligraphy collector, using as primary sources the letters that Lian Quan wrote to Ômura and his Nanhu’s Japan Travel Journal（南湖東遊日記）. Lian Quan (1863-1931) was a late Qing-Republic of China period poet and collector of painting and calligraphy from Wuxi. He also operated a publishing company in Shanghai and is renowned in Chinese publishing history for being an early adopter of collotype printing in China. His massive collection of Chinese painting and calligraphy was known as the Xiaowanliutang（小萬柳堂）Collection. Lian Quan first visited Japan in 1914 to participate in the Tokyo Taishô Exhibition, and in the end visited Japan a total of six times, staying for a longer time each visit. During his time in Japan he held exhibitions of his own collection, published books on objects in his collection and deepened his friendships with major figures in various fields. Ômura Seigai (1868-1927), a Chinese art historian who was a professor at Tokyo Bijutsu Gakkô（ 東京美術学校）, was the one Japanese acquaintance that Lian most trusted, and indeed, entrusted with selling his collection in Japan. Not only did Ômura work hard on the exhibition of the Xiaowanliutang Collection held at Tokyo Bijutsu Gakkô and the Shômanryûdo gekiseki（小萬柳堂劇蹟）published immediately after the exhibition, he also actively helped sell Lian Quan's collection in Japan. On the other hand, Lian Quan, deeply knowledgeable about Chinese painting and calligraphy and well versed in the state of affairs of the Chinese publishing world, highly praised Ômura’s research on Chinese art, introduced those findings in China, and unstintingly cooperated with Ômura’s research. Ômura’s Shina kaiga shôshi（支那絵画小史）is known as the first systematic history of Chinese painting history, and it was thanks to Lian’s efforts that a Chinese translation of the book was published. Lian provided materials for Ômura’s major work, Shina bijutsushi chôsohen（支那美術史彫塑篇） , and the great results that Ômura produced from his research trip to Shanghai in 1921 were thanks to the wholehearted support provided by Lian. The clarification of these various facts provides a vivid image of Lian Quan as a philosophical and deeply humanist person and as a collector with a strong sense of mission, factors that have not been much discussed in earlier studies.His stance regarding the importance of positioning artworks within the flow of history was shared by the art historian Ômura. The deep connection formed by the two men can be said to have been based on their mutual love for Chinese painting and calligraphy, a passion that surpassed modern national boundaries and had been conveyed over the long course of history in both Japan and China. The friendship between these two men not only shows the ideal relationshipbetween collector and art historian, it also indicates the importance of Lian and the multifaceted roles he played in the early period of Chinese art history research.