Anti-Westernization "consensus" In Sino-Japanese Art Exchanges In The Early 20th Century

Since entering modern times,China and Japan are facing similar historical opportunities.Under the impact of Western learning,how to deal with the relationship between domestic culture and Western culture has become a common problem faced by the intellectual elites of both countries.Under the influence of "new,old","East,West" and other contradictions,Chinese and Japanese painters are facing the competition between standard and object.At the beginning of the 20 th century,the trend of "anti Westernization" caused by the "East-West opposition" promoted the positive exchanges between China and Japan in traditional calligraphy and painting.Both sides jointly resisted the invasion of Westernization tide through the new situation of Sino Japanese painting joint exhibition.However,the joint exhibition of Chinese and Japanese paintings in 1920 s is not only of artistic significance,but also the field of cultural display of China and Japan.Due to the great difference between the identity and "self" orientation of modern China and Japan in Asia,the Sino Japanese painting joint exhibition has gradually evolved into an arena set up by Chinese and Japanese painters to revive their traditional culture.In other words,China hopes to guide the development of Chinese painting by reconstructing the oriental traditional painting,while Japan wants to reshape the connotation of "Oriental" painting Japan as a representative of Asian culture.Although the joint exhibition of Chinese and Japanese paintings gradually deviated from the original intention of advocating the inherent spirit of the East,it had an undeniable positive impact on the revival of traditional Chinese painting and calligraphy in the early Republic of China in the changing modern painting world,and the establishment of a set of exhibition mechanism in a short period of time to promote the successful modernization of traditional Chinese painting.