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For more than fifty years the has been investigating and photographing Chinese paintings around the world, archiving them, and building a digital platform for research. This project was initiated by emeritus professor Suzuki Kei (1920–2007) and has been continued by Toda Teisuke (1934–), Ogawa Hiromitsu (1948–2019), and current staff members (Itakura Masaaki and Tsukamoto Maromitsu), which is unusual in the humanities, and currently more than 200,000 images are held and have been catalogued. Under each section head, volumes of the have been published, and in March 2020, during the Covid-19 pandemic, the third series in six volumes was brought to completion. To commemorate this achievement, an international symposium on “” was held in March 2021. Because of the pandemic it was held on-line rather than in-person. The speakers were Ide Seinosuke (professor, Kyushu University), Yukio Lippit (professor, Harvard University), Shi Shouqian (Distiguished Reseach Fellow, Academia Sinica, Taiwan), and Itakura, and they discussed in both retrospect and prospect the archiving of Chinese paintings and research based thereon. There were many overseas participants, and much lively debate took place. The first half of the present book is based on this symposium (“The Study of East Asian Art, from the Past to the Future: Collections and Archives”).
 
The second half of this book (“The Current State of the Study of East Asian Art”) provides practical examples of research making use of these archives. These archives provide a platform for the study of the history of Chinese painting, but it goes without saying that they are useful for the study of not only Chinese painting but also Japanese and Korean painting, and they have the potential to become an important tool for reconstructing the study of East Asian art history. The late Ogawa Hiromitsu, the previous section head, was the only scholar to have participated in the worldwide investigations for all three series of the Comprehensive Illustrated Catalogue of Chinese Painting, devoting himself to this project, and it is no exaggeration to say that this project would not have continued without his efforts. His research, which was of a grand scale, pursued the universality of Chinese painting and aimed to reconstruct the history of East Asian painting, and he was the person who pushed this reconstruction of art history forward. Regrettably he died shortly before the completion of the third series, and condolences were offered at the symposium. The second half of this book was written by mainly young academics who studied under Ogawa, and it provides testimony to the fact that Ogawa’s wish to reconstruct East Asian art history will be passed on to the next generation.
 
I would encourage readers to also take a look at all fifteen volumes of the three series of the Comprehensive Illustrated Catalogue of Chinese Painting in conjunction with the present book.
 

(Written by ITAKURA Masaaki, Professor, Institute for Advanced Studies on Asia / 2024)

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Drawing out cultural diversity, human connections from a painting ｜UTOKYO VOICES 091
Maromitsu Tsukamoto, Associate Professor, Institute for Advanced Studies on Asia Department of East Asian Studies (II)  (春雨直播app website  July 2, 2020)
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