Exhibition "Edo and Beijing - City and Life in the 18th Century" was displayed at the Capital Museum from February 8, 2017 - April 9, 2017 in Beijing.

Here is the introduction:

——Exhibition Overview——

In the 18th century, Beijing and Edo, as the respective capitals of China and Japan, showed of their prosperity, each being a significant metropolis. This exhibition shows the prosperous Edo in the era of the Shogunate, and flourishing Beijing in the pre-Qing Dynasty period from different perspectives through well-chosen exhibits spread over three halls, from the macro-urban functions and planning to the details of common people's life, and to colorful urban arts. The exhibition consists of three chapters. The first chapter is "City and Governance of Edo and Beijing", the second is "Urban Life in Edo and Beijing", and the third is "Qing Dynasty Culture and Art in Beijing". In the same era, the similarities and differences between the two cities and their material life reflect the commonalities and uniqueness of the two countries' cultures.

Since 2002, the Capital Museum and the Tokyo Edo Museum have conducted various cooperation and exchange programs through the platform of "International Museum Seminar of China, Japan and South Korea". This exhibition is one of the achievements of Chinese and Japanese cooperation. The exhibition not only strengthens the relationship between the two museums, but also serves as a grand occasion for cultural exchange between the two cities and even the two countries. According to the plan, in 2018, "Beijing and Tokyo - City and Life in the 18th Century" will be held in the Capital Museum.

Chapter 1. City and Governance of Edo and Beijing

Picture: Inner city map of Edo

Edo Period

Collected by the Tokyo Edo Museum

It depicts the inner part of Edo City surrounded by the innermost moat. Inside the first city wall is the Imperial Palace, right of center in this picture. Below the palace are the second and third city walls. To the left is the Western Palace for reclusive generals and imperial heirs. Above the Imperial Palace are the Imperial gardens and residences for the Tayasu and Shimizu families, two of the three privileged branches of the Tokugawa (Shogunate) family. From this we can see that the structure of Edo is spirally expanded from the center.

Picture: Inside and outside city map of Beijing

Qing Dynasty

Collected at the Capital Museum

This late 19th Century picture shows the layout of Beijing in the Qing Dynasty in detail. In addition to the imperial city, the inner city and outer cities and the distribution of gates and yamen (government offices), hutongs, major streets and the garrisons in the inner city of the Eight Banners of Manchuria are also drawn in detail. This is a painting by Qing Dynasty artist Zhao Hong , who was born in Yanghu County, Jiangsu Province (now Wujin District, Changzhou City, Jiangsu Province), with a signature in the lower left corner.

Chapter 2.  Urban life in Edo and Beijing

Picture: Scroll "Hee Shing Tour" (partial)

1805

This depicts the flourishing commerce, row upon row of shops and the bustling flow of pedestrians in the Nihonbashi area of Edo, stretching from Kanda Bridge to Nihonbashi. According to the words on the donation box of the reconstructed Ekoin Temple, it was probably made around the 2nd year of the Bunka era (1805). In the following year, the temple was burnt down. The scroll can be used to verify the layout of the Nihonbashi district in the late 18th Century. 

Picture: Celebrations for Emperor Kangxi's 60th Birthday (Partial)

Qing Dynasty

Collected at the Capital Museum

It depicts the 60-year-old birthday of Emperor Qianlong. From the left to the right of the scroll, Emperor Qianlong and his entourage set off from the garden-style palace and pass through the gate of Xizhimen into the city of Beijing and then into the Xihuamen of the Forbidden City. The way is dotted with drama stages, lanterns and streamers, and thronged with people waiting to see the emperor. Divided by the Xizhimen, the scroll comprises two rolls, with the total length of 130 meters.

Picture: Vendor's Back Box

Edo Period

Collected by the Edo Tokyo Museum in Japan

The backrest is flattened and fitted with a metal strip. Opening the locked box door, one can see 10 layers of drawers, each of which is separated into several small compartments. Judging from these, we can imagine it belonged to a vendor selling articles of daily use. 

Picture: Doctor's Medical Kit

Qing Dynasty

Collected at the Capital Museum

This is a medical kit carried by an itinerant doctor. It has several drawers for medicines and treatment tools such as acupuncture needles. 

Picture: White velvet purse with peony pattern  

Edo Period

Collected by the Edo Tokyo Museum in Japan

This is a white velvet purse with such patterns as peony and clouds. Velvet is a kind of textile that makes the surface fluff by processing, and it was localized after being introduced into Japan by the Portuguese during the Tenbun era (1532-55). In the late Edo period, velvet was a very popular material for clothing. It was used not only in these small objects, but also in making a kimono collar (detachable collar).

Picture: Jing embroidery purse with melon pattern

Qing Dynasty

Collected at the Capital Museum

Picture: Screen painted with quails contending in song

Second half of the 18th Century 

Collected by the Edo Tokyo Museum in Japan 

Quails are popular for their crowing. In the Edo period, quails were popular not only among the families of the generals, but also among common folk, who even published breeding handbooks explaining feeding methods, ways to distinguish superior quails with a good voice, etc. Crowing and posturing competitions were prevalent in the second half of the 18th Century. Such competitions were always staged in the morning when male birds have the most beautiful voices. This screen depicts the scene of such competitions.

Picture: Bird cage

Qing Dynasty　　

Collected at the Capital Museum

Bird-raising and bird-watching is a big joy in life for many Beijingers. A well-made cage and its occupant bird represent the identity of the masters who like to walk around with it. They chat with friends or families at home, at the roadside or in the teahouse, while listening to their birds. This tradition, handed down from the Qing Dynasty, can be seen everywhere even now in Beijing.

Chapter 3. Qing Dynasty Culture and Art in Beijing

Picture: Deer

Painted by Shen Quan 

Qing Dynasty

Collected at the Capital Museum

This is rich in color, with delicate brushwork, and so lifelike as if the images are emerging from a picture. Shen Quan was from Zhejiang Province, and used the pseudonym of Nanping. He was good at painting birds and flowers. His painting technique was characterized by rich colors, with particular emphasis on rendering. He was hired by the Japanese Shogunate in 1731 (lasting for 16 years).  He stayed in Nagasaki for three years, during which he spread the skill of sketch drawing to Japan, exerting significant influence over Japanese art circles.

Picture: Eight kinds of ancient and modern paintings (sample of paintings that teach Chinese painting techniques) 

By Song Zishi  

In 1771(8th year of the Meiwa era)

Collected by the Edo Tokyo Museum in Japan

In the preface of Edo painter Song Zishi's picture book (sample collection) also appeared Shen Quan's name. Song Zishi was a representative of the Nanpin School. He studied painting from Xiong Pei in Nagasaki and then from the artist Qing Ziyan of the Qing Dynasty in 1758 (the 8th years of Bao Li period) to establish his own painting method. Song Zishi published several such model books for painting as this one, which played an important role in the popularization of Nanpin School.

Picture: Blue and white porcelain plate with the pattern of imperial Porcelain Plant　　

Qing Dynasty

Collected at the Capital Museum

On the white plate are the imperial kiln(Jingdezhen Official Kiln), streets, surrounding scenery and the detailed production of porcelain, painted with cobalt blue material. In the center are three courtyards flanked by porcelain workshops. On both sides of the mountain gate, which is at the lower part of the picture, are the Jingde Division and Fuliang County Government who supervised kiln affairs. It is an extremely valuable historical material helping study of the production system and folk custom of Jingdezhen in the Qing Dynasty.

Picture:  Imperial light greenish white jade writing-brush washer in the shape of a melon　　

Qing Emperor Qianlong

Collected at the Capital Museum

The light greenish white jade writing-brush washer in the shape of a melon is incised with a poem by Qing Emperor Qianlong. It has a curly leaf-shaped handle, with five petals blooming along the washer and hexagonal flower-shaped legs. We can conclude from these that it was Emperor Qianlong who ordered the internal court to inscribe the poem and the line.

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