Reconsidering Okakura Tenshin as the Inventor of Oriental Art

Reconsidering Okakura Tenshin as the Inventor of Oriental Art History Association for Asian Studies, Boston, Mar. 11-15, 1999; Annual Meeting Program, p135.
Japan
J
apan
his
fudoron
that
underscored
his
linking
of
China's
h
i
sf
udoron 出
a
tu
n
d
e
r
s
c
o
r
e
dh
i
sl
i
n
k
i
n
go
fC
h
i
n
a
's
off
philosophical/political
transition
ann t
the
evolution
p
h
i
l
o
s
o
p
h
i
c
a
l
l
p
o
l
i
t
i
c
a
l仕
a
n
s
i
t
i
o
na
h
ee
v
o
l
u
t
i
o
no
C
h
i
n
e
s
ea
r
t
i
s
t
i
cs
t
y
l
e
s
.1
i
l
la
l
s
ot
a
k
eu
i
sc
o
n
c
e
p
to
Chinese
artistic
styles.
Iw
will
also
take
upph
his
concept
off
Asian
"oneness"
that
emerged
att血
this
time;
.{{
3)
Finally
I
A
s
i
a
n“
o
n
e
n
e
s
s
"t
h
a
te
mergeda
i
st
i
m
e
;.
3
)F
i
n
a
l
l
y1
want
tooa
address
the
question
offw
why
Okakura
perceived
w
antt
d
d
r
e
s
st
h
eq
u
e
s
t
i
o
no
hyO
kakurap
e
r
c
e
i
v
e
d
Chinese
art
tooh
have
experienced
a s
serious
breakdown
C
h
i
n
e
s
ea
r
tt
a
v
ee
x
p
e
r
i
e
n
c
e
da
e
r
i
o
u
sb
reakdown
Song
and
Yuan
Dynasties
and
why
heeh
held
between
the
b
e
t
w
e
e
nt
h
eS
onga
n
dY
uanD
y
n
a
s
t
i
e
sa
n
dw
hyh
e
l
d
such
a n
negative
attitude
towards
literati
painting
and
s
u
c
ha
e
g
a
t
i
v
ea
t
t
i
t
u
d
et
o
w
a
r
d
sl
i
t
e
r
a
t
ip
a
i
n
t
i
n
ga
n
d
subsequent
Chinese
art
movements
(including
even
the
s
u
b
s
e
q
u
e
n
tC
h
i
n
e
s
ea
r
tm
ovements(
i
n
c
1
u
d
i
n
ge
v
e
nt
h
e
crafts).
Can
causes
for
this
be
attributed
too E
Ernest
c
r
a
f
t
s
)
.C
an c
a
u
s
e
sf
o
rt
h
i
sb
ea
t
住i
b
u
t
e
dt
r
n
e
s
t
of
Western
classicism,
orr t
too t
the
Fenollosa's
ideas
F
e
n
o
l
l
o
s
a
's i
d
e
a
so
fW
e
s
t
e
r
nc
1a
s
s
i
c
i
s
m，o
h
e
Sinology
tradition
offT
Tokugawa
Japan?
S
i
n
o
l
o
g
yt
r
a
d
i
t
i
o
no
okugawaJ
a
p
a
n
?
What
Iw
want
toω
do
in
the
paper
assa
aw
whole
isse
explore
Wh
a
t1
antt
o
d
ω
oi
nt
h
ep
叩
a
pe
町r
a
邸
hole也
i
却
x
.
pl
o
r
陀e
off"China' in the mind of Okakura, for I
the
issue
t
h
ei
s
s
u
eo
h瓜
a
ta
n
d
e
r
s
t
a
n
d
i
n
go
owO
kak凹
u
uヨ
a
au
s
e
d
b
e
l
i
e
v
e血
t
believe
that
ann u
understanding
offh
how
Okakura
used
胞
offh
his
thought
system
will
China
innt
the
development
y
s
t
.
emw
i
l
l
C
h
i
n
ai
h
ed
e
v
e
l
o
p
m
e
n
to
i
st
h
o
u
g
h
t勾
s
Okakura's
ideas
provide
important
new
insights
into
p
r
o
v
i
d
ei
m
p
o
r
t
a
n
tn
ewi
n
s
i
g
h
t
si
n
t
oO
k
a
k
u
r
a
'si
d
e
a
s
Ittw
was
precisely
Okakura's
use
of
and
methodology.
a
n
dm
e
t
h
o
d
o
l
o
g
y
.l
asp
r
e
c
i
s
e
l
yO
k
a
k
u
r
a
'
su
s
eo
f
Chinese
art
and
history
that
allowed
him
tood
develop
his
C
h
i
n
e
s
ea
r
ta
n
dh
i
s
t
o
r
yt
h
a
ta
l
l
o
w
e
dh
imt
e
v
e
l
o
ph
i
s
of
civilization,
with
its
emphasis
onn A
Asian
theory
t
h
e
o
r
yo
fc
i
v
i
l
i
z
a
t
i
o
n，w
i
t
hi
t
se
m
p
h
a
s
i
so
s
i
a
n
"oneness"
and
its
curious
placement
off訂artta
attt
the
apex
“
o
n
e
n
e
s
s
"a
n
di
t
sc
u
r
i
o
u
sp
l
a
c
e
m
e
n
to
h
ea
p
e
x
off c
civilization
transcending
both
philosophy
and
a
n
s
c
e
n
d
i
n
gb
o
t
hp
h
i
l
o
s
o
p
h
y a
n
d
o
i
v
i
l
i
z
a
t
i
o
n仕
religion.
r
e
l
i
g
i
o
n
.
his
Indian
nationalist
friends;
and
Book
offTea
h
i
sl
n
d
i
a
nn
a
t
i
o
n
a
l
i
s
t企
i
e
n
d
s
;a
n
d The
The B
ooko
Tea
(1906)
was,
byyc
contrast,
ap
public
lecture
to
the
Boston
(
19
0
6
)w
as，b
o
n
住a
s
t，a
u
b
l
i
cl
e
c
t
l
.
旬u
児et
ω
ot
h
eB
o
s
t
o
n
bourgeoisie
designed
to
clarify
Japan's
position
innt
the
b
o
u
r
g
e
o
i
s
i
ed
e
s
i
g
n
e
dt
ω
oc
1
紅 i
ち
今
， J
叩
a
p加
a
n
'sp
o
s
i
t
i
o
ni
h
e
Russo-Japanese
War;
(3)
Finally
Iw
want
tooe
explore
the
R
u
s
s
o
J
a
p
a
n
e
s
eW
ar;(
σ
3
)F
i
n
a
l
l
y1
antt
x
p
l
o
r
et
h
e
Okakura
was
removed
from
the
Editorial
way
innw
which
w
ayi
hichO
kakuraw
asr
emoved企
f
旨
romt
h
eE
副
d
i
t
ω
o
r
i
a
Board
offt
the
first
official
Japanese
art
history
that
was
a
tw
as
B
oardo
h
ef
i
r
s
to
f
f
i
c
i
a
lJ
a
p
a
n
e
s
ea
r
th
i
s
t
o
r
y血
World's
off1900
and
how
compiled
for
the
c
o
m
p
i
l
e
df
o
rt
h
eParis
P
a
r
i
sW
o
r
l
d
'
sFair
F
a
i
ro
1
9
0
0a
n
dh
ow
his
"internationalist"
vision
offO
Oriental
Art
History
(in
h
i
s“
i
n
t
e
r
n
a
t
i
o
n
a
l
i
s
t
"v
i
s
i
o
no
r
i
e
n
t
a
1A
r
tH
i
s
t
o
r
y(
i
n
off aesthetically
which
Japan
played
the
role
w
h
i
c
h J
a
p
a
n p
l
a
y
e
d t
h
e r
o
l
e o
a
e
s
t
h
e
t
i
c
a
l
l
y
synthesizing
Indian
philosophy
and
Chinese
ethics)
was
s
y
n
t
h
e
s
i
z
i
n
gl
n
d
i
a
np
h
i
l
o
s
o
p
h
ya
n
dC
h
i
n
e
s
ee
t
h
i
c
s
)w
as
"nationalistic"
perspective
byys
some
replaced
byya
am
more
r
e
p
l
a
c
e
db
ore“
n
a
t
i
o
n
a
l
i
s
t
i
c
"p
e
r
s
p
e
c
t
i
v
eb
ome
off t
the
very
students
Okakura
had
trained
who
a
i
n
e
dw
ho
o
h
ev
e
r
ys
t
u
d
e
n
t
sO
kakura h
ad 仕
pretended
toob
beel
less
ideological
and
more
empirical
inn
p
r
e
t
e
n
d
e
dt
e
s
si
d
e
o
l
o
g
i
c
a
la
ndm
oree
m
p
i
r
i
c
a
li
their
research
onnBuddhism
and
Chinese
Art
History.
t
h
e
i
rr
e
s
e
a
r
c
ho
Buddhisma
n
dC
h
i
n
e
s
eA
r
tH
i
s
t
o
r
y
.
~bove
questions
will
help
uss t
too
Addressing
A
d
d
r
e
s
s
i
n
g the
t
h
ea
b
o
v
eq
u
e
s
t
i
o
n
sw
i
l
lh
e
l
pu
understand
the
reasons
why
Henry
Focillon,
for
one,
o
ro
ne，
u
n
d
e
r
s
t
a
n
dt
h
er
e
a
s
o
n
sw
hyH
enryF
o
c
i
l
l
o
n，f
Okakura
sooh
highly
asst
the
most
distinctive
appreciated
a
p
p
r
e
c
i
a
t
e
dO
kakuras
i
g
h
l
ya
h
em
ostd
i
s
t
i
n
c
t
i
v
e
offt
the
Oriental
artistic
heritage
innt
the
les
thinker
t
h
i
n
k
e
ro
h
eO
r
i
e
n
t
a
la
r
t
i
s
t
i
ch
e
r
i
t
a
g
ei
h
e"entre
“
e
n
t
r
el
e
s
guerres"
cosmopolitan
context.
Dealing
with
these
o
s
m
o
p
o
l
i
t
a
nc
o
n
t
e
x
t
.D
e
a
l
i
n
gw
i
t
ht
h
e
s
e
g
u
e
r
r
e
s
"c
Okakura's
issues
will
also
help
uss t
too r
re-evaluate
i
s
s
u
e
sw
i
l
la
l
s
oh
e
l
pu
e
e
v
a
l
u
a
t
eO
k
a
k
u
r
a
's
position
both
innJ
Japan
and
inn t
the
West
inn the
first
p
o
s
i
t
i
o
nb
o
t
hi
a
p
a
na
n
di
h
eW
esti
t
h
ef
i
r
s
t
offt
this
century.
decade
d
e
c
a
d
eo
h
i
sc
e
n
t
u
r
y
.
l
H
omologieso
u
l
t
u
r
a
lR
e
s
i
s
t
a
n
c
ei
u
r
n
o
f
t
h
e
Homologies
offC
Cultural
Resistance
innT
Turn-of-theJapan
and
India:
AC
Comparative
Century
C
enturyJ
apana
ndI
o
d
i
a
:A
omparativeStudy
Study
offO
Okakura
Kakuzo
and
Abanindranath
Tagore
o
kakuraK
akuzoa
ndA
banindranathT
agore
Debashish
Banerji,
University
offC
California,
Los
Angeles
D
e
b
a
s
h
i
s
hB
a
n
e
げi
，
U
n
i
v
e
r
s
i
t
yo
a
l
i
f
o
r
n
i
a，L
osA
n
g
e
l
e
s
Turn-of-the-century
British
Calcutta
and
Meiji
T
u
r
n
o
f
t
h
e
c
e
n
t
u
r
yB
r
i
t
i
s
hC
a
l
c
u
t
t
aa
n
dM
e
i
j
i
Yokohama
presented
striking
similarities
off hybrid
仕i
k
i
n
gs
i
m
i
l
a
r
i
t
i
e
so
h
y
b
r
i
d
Y
okohama p
r
e
s
e
n
t
e
ds
offt
the
collision
off“
"east"
and
"west"
culture
assa
ar
result
c
u
l
t
u
r
ea
e
s
u
l
to
h
ec
o
l
l
i
s
i
o
no
e
a
s
t
"a
n
d“
w
e
s
t
"
that
played
itself
out
innt
these
cities.
The
capital
off
t
h
a
tp
l
a
y
e
di
t
s
e
l
fo
u
ti
h
e
s
ec
i
t
i
e
s
.T
h
ec
a
p
i
t
a
lo
British
India,
Calcutta
the
rise
off a
a w
western，C
a
l
c
u
t
t
a saw
saw t
h
er
i
s
eo
e
s
t
e
r
n
B
r
i
t
i
s
hl
n
d
i
a
bhadralok,
who
comprised
educated
Bengali
elite,
the
e
d
u
c
a
t
e
dB
e
n
g
a
l
ie
l
i
t
e，t
h
eb
h
a
d
r
a
l
o
k
，w
hoc
o
m
p
r
i
s
e
d
t
h
es
p
e
c
仕umo
o
c
i
a
la
n
di
d
e
o
l
o
g
i
c
a
la
t
t
i
t
u
d
e
sr
a
n
g
i
n
g
the
spectrum
offs
social
and
ideological
attitudes
ranging
offB
British
ways
too出
thee
from
unquestioning
imitation
f
romu
n
q
u
e
s
t
i
o
n
i
n
gi
m
i
t
a
t
i
o
no
r
i
t
i
s
hw
ays t
fashioning
offa
ac
cultural
identity
based
onno
oppositional
f
a
s
h
i
o
n
i
n
go
u
l
t
u
r
a
li
d
e
n
t
i
t
yb
a
s
e
do
p
p
o
s
i
t
i
o
n
a
l
rejection
and/or
affirmation.
Japan
though
r
e
j
e
c
t
i
o
na
n
d
/
o
r revivalist
r
e
v
i
v
a
l
i
s
ta
f
f
i
r
m
a
t
i
o
n
.J
a
p
a
nt
h
o
u
g
h
never
following
American
humiliation,
n
e
v
e
r colonized,
c
o
l
o
n
i
z
e
d， f
o
l
l
o
w
i
n
gA
merican h
u
m
i
l
i
a
t
i
o
n，
offw
westernization,
a
embarked
upon
af
full-scale
process
e
mbarkedu
pona
u
l
l
s
c
a
l
ep
r
o
c
e
s
so
e
s
t
e
r
n
i
z
a
t
i
o
n，a
off w
which
process
saw
the
establishment
off
part
p
訂 to
h
i
c
hp
r
o
c
e
s
ss
aw t
h
ee
s
t
a
b
l
i
s
h
m
e
n
to
Yokohama
ass a
a w
westernized
trading
center.
Ass i
inn
Y
okohama a
e
s
t
e
r
n
i
z
e
d住
a
d
i
n
gc
e
n
t
e
r
.A
Calcutta,
a n
new
Japanese
social
class
emerged
here,
1
c
u
t
t
a
，a
ewJ
a
p
a
n
e
s
es
o
c
i
a
lc
1a
s
se
mergedh
e
r
e，
C
a
which
found
itself
inna
anna
alien
cultural
field,
where
the
w
h
i
c
hf
o
u
n
di
t
s
e
l
fi
l
i
e
nc
u
l
t
u
r
a
lf
i
e
l
d，w
heret
h
e
off t
tradition
were
rendered
values
and
assumptions
v
a
l
u
e
sa
n
da
s
s
u
m
p
t
i
o
n
so
r
a
d
i
t
i
o
nw
ere r
e
n
d
e
r
e
d
questionable.
q
u
e
s
t
i
o
n
a
b
l
e
.
The
unsettled
and
contested
contexts
that
resulted
T
heu
n
s
e
t
t
l
e
da
ndc
o
n
t
e
s
t
e
dc
o
n
t
e
x
t
st
h
a
tr
e
s
u
l
t
e
d
formed
the
fertile
ground
for
creative
f
o
r
m
e
dt
h
ef
e
r
t
i
l
eg
r
o
u
n
df
o
rself-conscious
s
e
l
f
c
o
n
s
c
i
o
u
sc
r
e
a
t
i
v
e
offi
identity-building,
based
innt
the
articulation
off
projects
p
r
o
j
e
c
t
so
d
e
n
t
i
t
y
b
u
i
l
d
i
n
g，
b
a
s
e
di
h
ea
r
t
i
c
u
l
a
t
i
o
no
"otherness"
from
the
This
paper
outlines
the
“
o
t
h
e
r
n
e
s
s
"f
rom t
h
e west.
wes
t
.T
h
i
sp
a
p
e
ro
u
t
l
i
n
e
st
h
e
off t
two
homologies
inn t
the
life
work
h
o
m
o
l
o
g
i
e
si
h
el
i
f
e and
a
n
dw
ork o
wo such
s
u
c
h
Okakura
Kakuzo
(1862-1913),
born
and
practitioners,
kakuraK
akuzo(
18
6
2
1
9
1
3
)
，b
o
r
na
n
d
p
r
a
c
t
i
t
i
o
n
e
r
s，O
innY
Yokohama,
Japan,
cultural
ideologue
and
brought
uppi
b
r
o
u
g
h
tu
okohama，
J
a
p
a
n，
c
u
l
t
u
r
a
li
d
e
o
l
o
g
u
ea
n
d
off t
the
Japanese
revivalist
Nihonga
founder
f
o
u
n
d
e
r o
h
e J
a
p
a
n
e
s
e r
e
v
i
v
a
l
i
s
tN
ihonga art
町t
movement,
and
Abanindranath
Tagore
(1871-1951),
，a
n
dA
b
a
n
i
n
d
r
a
n
a
t
hT
a
g
o
r
e(
1
8
7
1
1
9
5
1
)，
m
ovement
from
Calcutta,
India,
artist
and
founder
offt
the
Bengal
台
omC
a
1
c
u
t
t
a，I
n
d
i
a，a
r
t
i
s
ta
n
df
o
u
n
d
e
ro
h
eB
enga
1
Reconsidering
Okakura
Tenshin
asst
the
Inventor
off
R
e
c
o
n
s
i
d
e
r
i
n
gO
kakuraT
enshina
h
eI
n
v
e
n
t
o
ro
Oriental
Art
History
O
rien
t
a
IA
rtH
i
s
t
o
r
y
Shigemi
Inaga,
International
Research
Center
for
Japanese
S
h
i
g
e
m
iI
n
a
g
a，I
n
t
e
m
a
t
i
o
n
a
lR
e
s
e
a
r
c
hC
e
n
t
e
rf
o
rJ
a
p
a
n
e
s
e
Studies,
Kyoto
y
o
t
o
S
t
u
d
i
e
s，K
The
concept
offO
Oriental
Art
History
issa
a m
modern
r
tH
i
s
t
o
r
yi
odern
T
hec
o
n
c
e
p
to
r
i
e
n
t
a
lA
invention
created
under
the
Western
impact.
In
its
i
n
v
e
n
t
i
o
nc
r
e
a
t
e
du
n
d
e
rt
h
eW
e
s
t
e
r
ni
m
p
a
c
t
.l
ni
t
s
Oriental
art,
had
too c
clear
a
construction,
Asian,
or
c
o
n
s
t
r
u
c
t
i
o
n，A
s
i
a
n，o
rO
r
i
e
n
t
a
la
r
t
，h
a
dt
1e
a
ra
On
the
one
hand,
the
Oriental,
orrA
Asian,
double
hurdle.
d
o
u
b
l
eh
u
r
d
l
e
.O
nt
h
eo
neh
a
n
d，t
h
eO
r
i
e
n
t
，
1
ao
s
i
a
n，
objects
selected
toor
represent
that
arttt
toot
the
Western
o
b
j
e
c
t
ss
e
l
e
c
t
e
dt
e
p
r
e
s
e
n
tt
h
a
t訂
h
eW
e
s
t
e
r
n
of
fitting
into
the
categories
world
had
toom
meet
the
test
w
o
r
l
dh
adt
eett
h
et
e
s
to
ff
i
t
t
i
n
gi
n
t
ot
h
ec
a
t
e
g
o
r
i
e
s
that
Westerners
had
themselves
established
assd
defining
t
h
a
tW
e
s
t
e
r
n
e
r
sh
adt
h
e
m
s
e
l
v
e
se
s
t
a
b
l
i
s
h
e
da
e
f
i
n
i
n
g
the
fine
Arts.
Attt
the
same
time,
these
objects
also
had
h
e
s
eo
b
j
e
c
t
sa
l
s
oh
a
d
t
h
ef
i
n
eA
r
t
s
.A
h
es
amet
i
m
e，t
tooa
avoid
being
seen
assm
mere
by-products
offW
World
Art
t
v
o
i
db
e
i
n
gs
e
e
na
ereb
y
p
r
o
d
u
c
t
so
orldA
r
t
History,
assW
Westerners
defined
it.t
H
i
s
t
o
r
y，
a
e
s
t
e
r
n
e
r
sd
e
f
i
n
e
di
.
of
the
Ittw
was
innt
this
narrow
space
that
the
idea
I
asi
h
i
sn
a
r
r
o
ws
p
a
c
et
h
a
tt
h
ei
d
e
ao
f血
e
Orient
innA
Art
was
pursued
innt
the
second
half
offt
the
O
r
i
e
n
ti
r
tw
asp
u
r
s
u
e
di
h
es
e
c
o
n
dh
a
l
fo
h
e
Innt
this
paper
I w
will
re-examine
the
nineteenth
n
i
n
e
t
e
e
n
t
h·century.
c
e
n
t
u
r
y
.l
h
i
sp
a
p
e
r1
i
l
lr
e
e
x
a
m
i
n
et
h
e
Okakura
Tenshin
played
innt
this
context.
Here
I
role
that
r
o
l
et
h
a
tO
kakuraT
e
n
s
h
i
np
l
a
y
e
di
h
i
sc
o
n
t
e
x
t
.H
e
r
e1
propose
tooe
explore
three
points:
(1)
Toow
what
extent
was
p
r
o
p
o
s
et
x
p
l
o
r
et
h
r
e
ep
o
i
n
t
s
:(
1
)T
hate
x
t
e
n
tw
as
Okakura
influenced
byy I
Indian
thinkers
like
Vive
O
kakura i
n
f
l
u
e
n
c
e
db
n
d
i
a
nt
h
i
n
k
e
r
sl
i
k
eV
ive
Oriental
values
inn
Kahnanda
innh
his
effort
toor
rehabilitate
K
ahnandai
i
se
f
f
o
r
tt
e
h
a
b
i
l
i
t
a
t
eO
r
i
e
n
t
a
lv
a
l
u
e
si
aw
world-wide
context;
and
toow
what
extent
can
weef
find
a
a
o
r
l
d
w
i
d
ec
o
n
t
e
x
t
;a
n
dt
hate
x
t
e
n
tc
a
nw
i
n
da
parallel
between
Okakura's
endeavors
in
Japan
and
p
a
r
a
l
l
e
lb
e
t
w
e
e
nO
kakur
ぜ se
n
d
e
a
v
o
r
si
nJ
a
p
a
na
n
d
offKm
Kmalaswami
and
E..B
B.
Havell
innl
India;
(2)
Too
those
t
h
o
s
eo
a
l
a
s
w
a
m
ia
n
dE
.H
a
v
e
l
li
n
d
i
a
;(
2
)T
Okakura's
changing
images
offA
Asia
what
extent
were
w
hate
x
t
e
n
tw
e
r
eO
k
a
k
u
r
a
'sc
h
a
n
g
i
n
gi
m
a
g
e
so
s
i
a
Orient
the
results
offa
a c
changing
environment
and
the
a
n
dt
h
eO
r
i
e
n
tt
h
er
e
s
u
l
t
so
h
a
n
g
i
n
ge
n
v
i
r
o
n
m
e
n
t
and
the
particular
audiences
toow
which
his
books
were
a
n
dt
h
ep
a
r
t
i
c
u
l
a
ra
u
d
i
e
n
c
e
st
hichh
i
sb
o
o
k
sw
ere
addressed?
The
Ideals
offt
the
East
(1903)
was
written
hel
d
e
a
l
so
h
eE
a
s
t(
19
0
3
)w
asw
r
i
仕e
n
a
d
d
r
e
s
s
e
d
?T
The
Awakening
of
for
enlightened
British
intellectuals;
f
o
re
n
l
i
g
h
t
e
n
e
dB
r
i
t
i
s
hi
n
t
e
l
l
e
c
t
u
a
l
s
;T
heA
wakeningo
f
Japan
(1904)
(which
was
never
published
during
his
J
apan(
19
0
4
)(
w
h
i
c
hw
asn
e
v
e
rp
u
b
l
i
s
h
e
dd
u
r
i
n
gh
i
s
lifetime)
was
written
assa
ad
declaration
offs
solidarity
with
l
i
f
e
t
i
m
e
)w
asw
r
i
t
t
e
na
e
c
1a
r
a
t
i
o
no
o
l
i
d
a
r
i
t
yw
i
t
h
1
35
135
。
999b
yt
h
eA
s
s
o
c
i
a
t
i
o
n
f
o
rA
s
i
a
nS
t
u
d
i
e
s
，I
n
c
.
©1
1999
by
the
Association
for
Asian
Studies,
Inc.
A
l
lR
i
g
h
t
sR
e
s
e
r
v
e
d
All
Rights
Reserved
Ordering
Information
O
r
d
e
r
i
n
gI
n
f
o
r
m
a
t
i
o
n
To
obtain
copies
of
the
Abstracts
for
the
1992-99
Annual
T
oo
b
t
a
i
nc
o
p
i
e
so
ft
h
eA
bs
住a
c
t
sf
o
rt
h
e1
992-99A
nnual
Meetings,
please
contact:
M
e
e
t
i
n
g
s，
p
l
e
a
s
ec
o
n
t
a
c
t
:
Association
for
Asian
Studies,
Inc.
I
n
c
.
A
s
s
o
c
i
a
t
i
o
nf
o
rA
s
i
a
nS
t
u
d
i
e
s，
1021
East
Huron
Street
位e
e
t
1
0
2
1E
a
s
tH
uronS
Ann
Arbor,
Michigan
48104
USA
A
nnA
rbor，
M
ichigan4
8104U
SA
Tel:
(734)
665-2490
T
e
l
:(
7
3
4
)6
6
5
2
4
9
0
Fax:
F
a
x
:(734)
(
73
4
)665-3801
665・3
8
0
1
E-Mail:
bookorder@aasianst.org
E
M
a
i
l
:b
o
o
k
o
r
d
e
r
@
a
a
s
i
a
n
st
.o
r
g
Please
P
l
e
a
s
eNote
N
o
t
e
I
n
q
u
i
r
i
e
sabout
a
b
o
u
tindividual
i
n
d
i
v
i
d
u
a
lpapers
p
a
p
e
r
sshould
s
h
o
u
l
dbe
b
esent
s
e
n
tdirectly
d
i
r
e
c
t
l
yto
t
othe
t
h
e
Inquiries
a
u
t
h
o
r
s
;aalist
l
i
s
tof
o
fauthors'
a
u
t
h
o
r
s
'addresses
a
d
d
r
e
s
s
e
sbegins
b
e
g
i
n
son
onpage
p
a
g
e323
323of
o
fthis
t
h
i
s
authors;
volume.
v
o
l
u
m
e
.
ISSN
ISSNNumber:
Number:1066-1603
1066-1
6
0
3