ABSTRACT
This chapter looks at the taxonomical construction of the Meishu Congshu, its modifications and rationales, throughout its publishing history. It explains the book series within the context of translingual practice, where the neologism meishu emerged as the Chinese counterpart for the European concept of Art, and stresses Meishu Congshu's agency in creating this new discursive field and articulating it with local traditions. The chapter addresses only the first three—which were made before the Shenzhou Guoguangshe publishing house changed hands in 1928—since they differ significantly from the latter ones in publishing and editorial conditions and reflect the development of the concept of meishu from the time of the Journal of National Essence. It demonstrates how the imported concept of meishu differed from the existing category of yishu, while at the same time was naturalized and endowed with an aura of tradition and authenticity in its new Chinese setting.
