富泽爱理子, 何香凝对日本画的吸收与再发展，《借路扶桑：留日画家的中国画改良》（广州：岭南美术出版社，2017）

This paper focuses on the work of He Xiangnig, one of the earliest female Chinese students to study nihonga in Japan who continued to work in the style after her return to China. He’s work provides a unique vantage point from which to understand the reciprocal relationship between China and Japan at this period, but it also highlights crucial issues of artistic identity – He was a pioneer amongst modern female artists in East Asia. I would like to elucidate how He’s study under nihonga painters Tanaka Raishō 田中頼璋 (1866–1940), from 1908 at his private school, and Hashidate Shisen 端館紫川 (1855–1921), from 1909 at the Women Art School of Arts 女子美術学校, influenced her work and sowed the seeds of her later development in China. Through close observation of her existing works held at the He Xiangnig Art Museum, together with the works of her teachers and her own art manuals, I hope to shed light on understudied transcultural aspects of the artist’s work. Although He is well-known on account of her political activities and her relationship with the élite of the Chinese Communist Party, she does not necessarily stand within mainstream Chinese Art History, although she did have tenuous connections with the Lingnan School 嶺南画派. Through a study of He’s work, I hope to review prevailing assumptions about revolutionary artists in China and to shed light on the role of tradition and innovation in the emergence of the Modern Chinese female artist . Revaluating female artists beyond the conventional categorization of Art History will be also a significant step in deconstructing the boundaries of Art History.