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1920年代上半期,日本着重依靠经济手段来保持和发展在华的权益。因感于关东大地震中来自中国的援助,震后的日本政府在经济困难的情况下,决定效仿美国把部分庚子赔款拨为对华文化事业之经费。在此大环境下,中日间的艺术交流十分活跃,除了中国学生留日风潮继续兴盛而外,中日间互派美术家进行交流展览的情势亦成常态,~1以上海与北京两地最为频盛。以上海为例,海派名家王一亭作为日商买办以及书画慈善方面的闻人,自然成为中日美术交流活动中的主角。~2与上海美专校长刘海粟只是担当美术活动的策办者不同,作为商人的王一亭还为中日画家到对方国家销售书画牵线搭桥,如他曾为中国画家叶怐到日本卖画作推介人,~3也曾为日本画家桥本关雪在中国销画助力。~4
In the first half of the 1920s, Japan focused on economic means to maintain and develop its rights in China. Because of the aid from China in the Kanto Earthquake, the Japanese government after the earthquake decided to follow the example of the United States earmarking some Gengzi indemnity funds for its cultural undertakings toward China in economic difficulties. In this environment, the exchange of art between China and Japan is very active. Apart from the continued boom of Chinese students staying in Japan, the exchange of exhibitions between China and Japan has become the norm. To Shanghai and Beijing The most frequent. Taking Shanghai as an example, the famous writer Wang Yiting, a Japanese comprador and a philanthropist of painting and calligraphy, naturally became the protagonist in the art exchange activities between China and Japan. ~ 2 Unlike Shanghai Academy of Art’s Liu Haisu, who acts only as a curator of fine arts activities, Wang Yiting, a merchant, also works as a bridge for Chinese and Japanese painters to sell paintings to other countries. For example, ~ 3 Also worked for Japanese artist Hashimoto Kaneshiro to sell paintings in China. ~ 4