1879年初，隸屬於英國海軍的建築師Edward James Reed（瑞德，1830-1906）受日本政府之邀訪日，於日本境內旅行了大約三個月。次年，他出版了 《日本：其歷史、傳統、宗教：併記1879年之旅》（Japan: Its History, Traditions, and Religions: With the Narrative of a Visit in 1879）一書。本計劃以此書為核心，但並不以研究Reed個人與其書為限。筆者更廣泛的關懷在於探討十九世紀後期西方旅人的東亞文化體驗，特別是旅行經驗與書寫，如何影響西方人對於東亞美術史概念的形成與轉變。具體上關聯到兩個面向：一、西方人除了對個別畫家或類型（如「浮世繪」）的興趣外，何時開始對於日本美術的整體發展，乃至於對東亞美術的歷史脈絡感到興趣？二、一般認為日本官方積極參與世界博覽會（或稱，萬國博覽會），是日本作品風靡國際的主因。然而，除了官方的行動與論述之外，是否有其他因素，促成西方人士對日本作品的重視？其中，西方人的旅行書寫，扮演了什麼樣的角色？ ;Edward James Reed（1830-1906）, an English architect serving the British navy, was invited to Japan in January, 1879. He travelled in Japan for about three months, and published Japan: Its History, Traditions, and Religions: With the Narrative of a Visit in 1879 next year. This research plan proposes to study this book within a broader context. My concern is not only the personal experience of the author, but how his writing reflected the changing concepts about the East Asian art history. To be more precise, two issues will be focused. First, when did the Westerners began to be interested in the art works other than the Ukiyo-e, and to concern the whole development of the Japanese art history, as well as the East Asian art history. Second, aside from the promotions conducted by the Japanese official agency in the World Expositions, were there any other factors that influenced the views of the Westerners in their acceptance of the East Asian art works. And, what kind of a role did travelogues written in the late nineteenth century play?
