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Future exhibition

Special Exhibition
The Evolving Landscape of Geopolitics: The World of East Asia from the 14th to the 19th Century

From the 14th to the 19th century, the world of East Asia witnessed a series of major successions in rulership that inaugurated its entry into early modern history. In 1368, Zhu Yuanzhang established the Ming dynasty (1368-1644) in China, which along with the following Qing dynasty (1644-1911), led the country to become the center of international order in East Asia. In 1392, Yi Sǒnggye (1335-1408) established the long-lasting Joseon dynasty (1392-1910) on the Korean Peninsula. In the same year, Ashikaga Yoshimitsu (1358-1408) ended the Nanboku-chō period of competing imperial courts and unified Japan. A few years later, the Ryukyu Islands also transitioned from three lines of kings in the Sanzan period to the unified First Sho dynasty in 1429. In this era of new and evolving political landscapes, the alliances, competition, and confrontations between Ming and Qing China, Korea, Ryukyu, and Japan (from the Muromachi to the Meiji periods) shaped the international order of the early modern world in East Asia.

The geography of East Asia comprises the East Asian mainland, the East Asian island arc, and the seas around them, with China, Korea, Japan, Ryukyu, and Taiwan all situated within this region. Culturally, they belong to the “Sinosphere,” sharing similar cultural commonalities based on Chinese writing while also retaining their own unique characteristics. Before the “treaty system” brought the Westphalian notion of sovereignty to East Asia in the 19th century as the underlying principle for a new international order, the so-called “tribute system” (also known as the “tributary system,” “investiture,” or “tributary vassalage”) was the diplomatic model for international relations in the region.

This thematic exhibition focuses on changes in international politics in East Asia during its early modern era, first exploring the identity, alliances, and challenges of China upon expanding outward and constructing an international order based on its own tribute system. Through a review of material culture, this exhibit examines a 500-year span of East Asian international relations, from the founding of the Ming dynasty (1368) to the Treaty of Shimonoseki (1895), which brought this system to an end. However, whether the tribute system actually centered solely on China during this period deserves reconsideration and should be readdressed.

In the East Asian landscape of this era, Japan, situated at its easternmost edge, borrowed from Chinese culture. Politically, though, it also sought to establish an international order with itself at the center, eventually vying with China for the status of suzerain in East Asia. Japan dispatched envoys to persuade various states to submit and pay tribute to it, launched the Imjin War (1592-1598) to try and conquer China via Korea, and used the Satsuma Domain to force Ryukyu into submission. In this struggle for power in East Asia, the Ryukyu Kingdom skillfully navigated between China and Japan through a policy of flexible diplomacy, striving for maximum economic benefit via its position along maritime trade routes. Meanwhile, the Korean court of the Joseon dynasty, with its rational and pragmatic foreign policy, insisted on sending envoys to Japan on a principle of equality. And before the Satsuma Domain's invasion of Ryukyu in 1609, Joseon Korea and Ryukyu maintained relations based on the notion of “neighborly relations.” Although the relationship between these East Asian states differed on a fundamental level, it generally operated on the mechanisms of the tribute system, allowing for rescuing those stranded by storms, negotiations, and engaging in political, economic, and cultural exchanges. And when national security was threatened, these states resorted to diplomatic maneuvering, alliances, and confrontation.

The exhibit also reflects on the construction of an East Asian cultural order. As Chinese writing formed the common language of the East Asian cultural sphere, educated envoys often communicated and exchanged ideas through Chinese characters. Furthermore, the itineraries of diplomatic envoys not only became arteries for politics and the economy, but also channels for disseminating knowledge and developing a cultural order, presenting a cultural autonomy lying beyond the political sphere.

This special exhibition begins with images that represent the awareness of and diplomacy in foreign affairs among these East Asian countries, offering a retrospective on their complex international relationship at the time. In the process, we can consider these two questions: What was the role of these visual materials, and what kind of historical traces did they leave behind? And Taiwan today, as a hub for East Asia and the seas around it, can contemplate on the contemporary East Asian context from a historical perspective to examine its position and role in responding to future changes within the larger global landscape.



*The Tradition and Imagery of the Chinese Tribute System

The tribute system in China originated from the vassalage order of its pre-Qin period, which regulated how the Zhou dynasty ruled over feudal lords and border peoples. This system evolved in Chinese history to become a model for handling international as well as ethnic relations. However, the unequal relationships and Sinocentric ideology deeply rooted within the Western Zhou system continued to influence the operation of foreign affairs in subsequent dynasties. In this Sinocentric world order, vassal states sent missions and paid tribute to China as their suzerain, which in turn granted an audience, investiture, and reward for their submission, forming a strict hierarchical order.

Depictions of “tribute bearers” became important symbols throughout Chinese history that materialized the concept of universal submission to the suzerain. They represented in visual form China's hierarchical relationship with other peoples and states, the distinction between Chinese and “foreigners,” their center-periphery sense of order, and the worldview of universal submission inherent in the tribute system. Because of their propaganda function in demonstrating national power, images of tribute bearers were thus highly regarded by rulers throughout China's dynastic history.

Tribute Bearers
Khitan Envoys Visit the Court




*The World of East Asia from the 14th to the 19th Century

The geography of East Asia consists of the East Asian continent, its island arc off the coast, and the seas around them. This section first employs maps as a visual representation of the geographic space in East Asia to show the relative positions of early modern China, Korea, Japan, and Ryukyu. It reveals how their territories and surrounding seas constituted the basic conditions for their geopolitical operation and shaped their construct of state strategy, diplomatic orientation, and external order.

The people active in the world of East Asia transformed the natural geographic space into fluid international relations through the use of political systems, economic networks, and cross-regional exchanges. International politics, therefore, became a historical and dynamic process of human interaction in the natural environment within a geopolitical structure.

China
Official Tribute (I) , Xie Sui (fl. 18th c.)




*“China” at the Center of the Tribute System: International Awareness and Missions to China

 Emperor Taizu (Zhu Yuanzhang) was the founder of the Ming dynasty, and he also established a tribute system centered on China, shaping the international order of early modern East Asia. After the Qing dynasty took over China by replacing the Ming dynasty, it largely inherited the Ming system to consolidate its status as the suzerain of East Asia. Both Ming and Qing China required neighboring states and peoples to follow the norm of “the lesser serving the greater” and adopted a foreign policy of “pacifying distant peoples and showing favor to foreign officials,” which also served as the mechanism for conducting tributary trade.

 Under the Ming and Qing tribute system in China, Korea and Ryukyu became important vassal states in East Asia. The envoys they sent to China were mostly outstanding figures well-versed in Chinese studies and knowledgeable in various fields. The works of painting and calligraphy they left behind are the cultural legacy of their diplomatic exchanges, and, as rare surviving traces from history, reflect the cross-regional interactions of their age.

Seated Portrait of Ming Taizu
Plaque Title




*The Emerging Challenge of “Japan” as the Center: Recruitment, Military Force, and Diplomacy

After unifying Japan, Toyotomi Hideyoshi was eager to establish a tribute system centered on Japan. Diplomatically, he sent embassies to persuade other states and peoples to submit to Japan. Militarily, he launched the Imjin War (1592-1598), intending to replace China as the center of power in East Asia. The Toyotomi strategy of “plotting against Korea while eyeing China” would have a lasting impact on the early modern world of East Asia.

Building upon the legacy of the Toyotomi clan, the Tokugawa in the Edo period targeted China's tributary states for expansion, such as restoring diplomatic relations with Joseon Korea by resuming the exchange of embassies. It also used Satsuma Domai to force Ryukyu to submit and offer tribute, establishing the latter's unique status as having “dual subordinate status to China and Japan.” This “Japan-centric world order” not only challenged the existing tribute system based on China but also triggered a multilateral diplomatic struggle within East Asia.

Six-Panel Screen of the Joseon Korean Embassy on an Official Riverboat
Illustrated Handscroll of the Procession of Ryukyuan Ambassadors to the Capital




*Terminating the Tribute System: The First Sino-Japanese War and the Treaty of Shimonoseki

In the late 19th century, the conflict between Japan and the Qing dynasty in China regarding suzerainty over the Korean Peninsula intensified, culminating in the First Sino-Japanese War in 1894. Japan, with its modern army and advanced weaponry, achieved an overwhelming victory. In the following year, the Treaty of Shimonoseki was signed, which affirmed Korea's “independence and autonomy” while abolishing the tributary relationship between China and Korea. This treaty not only terminated the tribute system centered on China but also established a new institutional order in East Asia based on “Western international law” and the principle of a “sovereign state.” Japan completed a power shift through wars and treaties, rising to become the regional hegemon dominating the East Asian order in the late 19th and early 20th century. Taiwan was also ceded to Japan in the Treaty of Shimonoseki, leading to its political and cultural alienation and separation from China over the next few decades.

The Naval Battle of Pungdo, Korea
The First Sino-Japanese War
Treaty of Peace Between China and Japan (Treaty of Shimonoseki)

 
Exhibition Information
  • Event Date 2026-02-15~2026-05-10
  • Location 1F S101
Tang dynasty, China Yan Liben (?-673)
Tribute Bearers
  • National Treasure
  • Collection of the National Palace Museum;Exhibition period 115.02.15-03.29
This painting scroll depicts a historical event involving envoys from the three kingdoms of Boli (Brunei), Luosha (“Lochac”), and Linyi (Vietnam) bringing tribute to China's Tang Empire in 631 under Emperor Taizong (598-649). The foreign-looking people in the painting rendered in extremely dramatic forms are shown holding rare and exotic objects. The painter employed a narrative technique combining facets of both “documentary” and “imagination” to depict the almost supernatural qualities of the exotic realms from which the figures came.
The handscroll has no seal or signature of the artist, but its traditional title slip attributes the painting to Yan Liben. According to Xuanhe Painting Catalog for the court collection of Emperor Huizong (1082-1135), Yan Liben's paintings were mostly related to international politics during the Tang dynasty. The colors of this scroll are elegant and reserved, but the brushwork are slightly weak, so the artist was probably someone else. Based on the Huizong title slip and collection seal, it was likely copied after a well-known work.
Song dynasty (960-1279), China
Khitan Envoys Visit the Court
  • National Treasure
  • Collection of the National Palace Museum;Exhibition period 115.02.15-05.1
In 1005, the Khitan Liao and Chinese Song dynasties signed the Treaty of Chanyuan, exchanging envoys and creating a system of “diplomatic engagement” to establish peaceful relations between them.
According to the inscription to the left of this painting, it depicts the scene of Khitan envoys from the Liao dynasty coming to congratulate Emperor Zhenzong of the Song on the Chengtian Festival (the day celebrating Zhenzong's birthday) in 1005, entering the compound of the Chongde Hall at court to pay homage. Presenting sable furs, imperial robes and horses, saddles, bows and arrows, various foods and drinks, and precious vessels and textiles, the offerings are shown displayed in the hall courtyard. Surrounding the congratulatory gifts are Northern Song officials with the Khitan envoys located around them, highlighting a Song-centered occasion that manifests its own notion of international order. The composition depicts a diplomatic scene underscoring the struggle for international status between these two powers.
Jodocus Hondius (1563-1612) Amsterdam, the Netherlands, 1606
China
  • Collection of the Kyushu National Museum
  • Exhibition period 115.02.15-03.29
This hand-colored map by the Dutch cartographer Jodocus Hondius was part of a world atlas published in Amsterdam in 1606. Building on Mercator's important 1595 atlas, Hondius added numerous new maps, including this one, which depicts China, Japan, Korea and parts of Southeast Asia as well.
Hondius's map of China, in turn, followed the highly influential 1584 map by Abraham Ortelius (1527-1598), which drew on a wide array of sources, including those by European travelers and, directly or indirectly, Chinese sources, too. Hondius's map, though, was notable for the level of detail provided for inland China, including provinces, cities, mountains and lakes. As in Chinese maps, the northern border is clearly demarcated by the Great Wall, while a chain of mountains delimit the empire to the west.
Despite this wealth of information, the “otherness” of the place to Hondius' readers is clearly depicted not only through the great ships required to travel there, but also by the literal framing of the Jesuit mission in Asia, described in the upper right through a depiction of Christian martyrdom in Japan under Toyotomi Hideyoshi (1537-1598).
Qing dynasty, China
Official Tribute (I),Xie Sui (fl. 18th c.)
  • Handscroll, ink and colors on paper
  • National Palace Museum;Exhibition period 115.02.15-05.10
The artist of this work, Xie Sui, whose birth and death dates are unknown, served the Qing imperial court in China during the Qianlong reign (1735-1796).
Beginning in 1751, the Grand Council at court was given responsibility for coordinating and mobilizing the central and local governments to produce four large-scale handscrolls on the subject of “Official Tribute.” Each section of illustration in the handscroll was to be accompanied by inscriptions in Manchu and Chinese, covering topics such as foreign relations and border governance. The project reflects the Qianlong emperor's policies related to international diplomacy, trade, and ethnic groups.
The first handscroll shown here depicts figures from border ethnic groups, Western countries, and vassal states. East Asian figures from Korea, Ryukyu, and Japan also appear in the first half of the scroll, which features a total of seventy people.
Ming dynasty (1368-1644), China
Seated Portrait of Ming Taizu
  • National Treasure
  • National Palace Museum;Exhibition period 115.02.15-05.10
Emperor Taizu (1328-1398, reigned 1368-1398), surnamed Zhu and having the given name Yuanzhang, was the founding ruler of the Ming dynasty. His reign title was Hongwu.
During the transition from the Yuan to the Ming dynasty, Taizu dispatched envoys overseas to announce the establishment of the Ming dynasty and seek international recognition for its legitimacy. In the early years of the dynasty, he advocated a policy of “peaceful diplomacy” and maintaining neighborly relations. He had compiled the Ancestral Instructions of the Ming, pledging not to conquer the fifteen neighboring states and to establish a foundational dynastic policy of relinquishing the use of force to establish an international order.
As a result, the number and scale of vassal states under the Ming dynasty became unprecedented. As the architect of a major foreign policy, Emperor Taizu's influence in Chinese history remains undeniable.As a result, the number and scale of vassal states under the Ming dynasty became unprecedented. As the architect of a major foreign policy, Emperor Taizu's influence in Chinese history remains undeniable.
Kim Chŏnghŭi (1786-1856) Joseon dynasty, Korea
Plaque Title
  • Korea University Museum
  • Exhibition period 115.02.15-05.10
Kim Chŏnghŭi, style name Wonchun and sobriquets Chusa and Ruandang, was a calligrapher skilled in seal and clerical scripts, especially the latter. In 1809, he accompanied his father, Kim Lukyung, who was then serving as Deputy Envoy for the Winter Solstice and Expressing Gratitude mission from Joseon Korea to Yanjing (Beijing) in China. There, he met Qing dynasty literati and absorbed knowledge from Weng Fanggang (1733-1818) and Ruan Yuan (1764-1849), among others. In later years, Kim developed a distinctive manner known as the “Chusa Style.”
This work is characterized by vigorous brushwork, powerful and rhythmic dots and strokes, and a strong visual tension within the rigorous structure, demonstrating a profound mastery on the part of Kim Chŏnghŭi in both the theory and practice of calligraphy.
Edo period (1603-1868), Japan
Six-Panel Screen of the Joseon Korean Embassy on an Official Riverboat
  • Kyushu National Museum
  • Exhibition period 115.02.15-03.29
The Korean diplomatic embassy from the Joseon dynasty court going to the Japanese capital traveled upstream along the Yodo River from Osaka, landed at Yodoura, and then transferred for the trip to Edo.
This six-panel folding screen done in the 18th century depicts a “kawagozabu” (a lavish riverboat for local official use) sailing on the Yodo River. A pennant for “Third Ship of the Senior Councilor” on board indicates that it carried the Senior Councilor for this diplomatic mission. Scholars have determined this boat to be the kawagozabu that was used by the Senior Councilor in 1711. Furthermore, judging from the fan-shaped decorative motifs on the pennant, tent, and pavilion, the boat was likely provided by the Matsudaira clan of the Shimahara Domain in Hizen Province.
Kano Shunko (?-1726) Edo period, Japan
Illustrated Handscroll of the Procession of Ryukyuan Ambassadors to the Capital
  • British Museum
  • Exhibition period 115.02.15-05.10
In 1609 Ryukyu became vassal to the Japanese feudal domain of Satsuma, which had invaded the kingdom to expand its influence and profit from trade. As a result, Ryukyu held a dual subordinate status to both the Chinese court and Satsuma.
Over the course of the Edo period, Ryukyu sent eighteen missions to Edo, either to congratulate a new shogun on his succession or in connection with the accession of a new king of Ryukyu. The 1710 mission documented in this extremely long scroll was the second largest among all missions sent to Edo.
The relationship with Satsuma, which allowed Ryukyu to maintain its tributary status with China, elevated the kingdom's political prestige and trade relations in Tokugawa Japan at a time when foreign relations were otherwise strictly banned. Ryukyu navigated a multilayered and flexible system of sovereignty that enabled it to survive, adapt and even thrive within the complex diplomatic order of early modern East Asia until the end of the kingdom's independence in 1879, when it was fully incorporated into Japanese territory as Okinawa Prefecture.
Kobayashi Kiyochika Japan , August 1894
The Naval Battle of Pungdo, Korea
  • Collection of the British Museum
  • Exhibition period 115.02.15-05.10
When the Donghak Peasant Movement erupted in Korea in 1894, both Japan and China intervened in an attempt to assert influence over the Korean peninsula. The Battle of Pungdo was the first full-scale engagement preceding Japan's official declaration of war on China on August 1. In this battle, Japanese forces reportedly sustained no casualties or damage, while Qing forces suffered substantial losses.
Kobayashi Kiyochika (1847-1915) is known for his ukiyo-e color woodblock prints and newspaper illustrations, including patriotic prints from the First Sino-Japanese and Russo-Japanese Wars. His artworks captured the rapid modernization and Westernization of Meiji Japan, often employing humorous depictions of foreigners.
In this triptych color woodblock print, the Chinese gunboat Guangyi is seen engulfed in flames, having been deliberately set alight by its own crew to prevent capture by the Japanese. The vivid red fire at the center is framed by defeated Qing soldiers disembarking on the Korean shore to the left, and a serene, moonlit sea stretching toward Japan on the right.
Japanese colonial period (1910-1945) , Slide
The First Sino-Japanese War
  • Collection of Incheon Metropolitan City Museum
  • Exhibition period 115.02.15-05.10
This stained-glass slide from the Japanese colonial period in Korea depicts a scene enveloped in mists as a warship lists in the water after being shelled. Given the Beiyang (Northern Seas) Fleet ensign flying on the ship, it is presumed to depict a naval battle in the First Sino-Japanese War (1894-1895). This war confirmed the Qing dynasty's loss of naval supremacy and that Japan had taken China's place. With Japan gaining control of the East Asian seas, it reflected a significant turning point in the regional power structure.
Stained-glass slides such as this were often based on subject matter from contemporary news reports and primarily used for teaching and as material for lectures.
Chinese-signed version 1895
Treaty of Peace Between China and Japan (Treaty of Shimonoseki)
  • Entrusted from the Ministry of Foreign Affairs, Republic of China
  • Exhibition period 115.02.15-05.10
The First Sino-Japanese War (1894-1895) ended in decisive defeat for the Qing dynasty of China. On April 17, 1895, the Qing representatives Li Hongzhang (1823-1901) and his nephew Li Jingfang (1855-1934), along with Japanese representatives including Prime Minister Itō Hirobumi (1841-1909) and Foreign Minister Mutsu Munemitsu (1844-1897), signed the Treaty of Shimonoseki (called the “Treaty of Peace Between Japan and China” in English and also formerly known as the Treaty of Maguan) in Shimonoseki, Japan.
In this treaty, the Qing dynasty recognized Korea's “independence,” marking the collapse of the tributary system in East Asia that had been centered on China. Japan rapidly rose to become a new power in East Asia, drawing the attention of and efforts by other major powers to counterbalance its expansionist ambitions.
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