江戶時代因德川幕府實行鎖國政策，日本人不得渡海外出，只有長崎作為唯一對外開放港口，與中國以及荷蘭貿易往來，這樣溝通中日往來、進行文化交流的歷史革命，就只能落在來往於長崎的清代克商肩上。新發現的長崎清客江芸閣、沈萍香52封書，就記錄了許多尚不為人所知的他們在中日兩國之間起架設橋樑作用的具體事實，其中他們與賴山陽的來往，尤其引人注目。 1828，賴山陽<日本樂府>66首後，他的朋友、長崎文人水野媚川便先後拜託江芸閣、沈萍香，希望能請中國著名文人對此做出評論，並儘可能納入<知不足齋叢書>那樣的著名叢書。在沈萍香的努力下，中國文人翁廣平、錢泳分別為<日本樂府>作序和題詩，不僅成為認本漢詩向中國大陸反餽的一段佳話，還說明了當時的日本漢學再接受中國影響的同時，也力爭在漢字文化圈中更多地發出自己的聲音。During the Edo period, due to the Tokugawa Shogunate's closed policy, Japanese were not allowed to go overseas. The only exception was the port of Nagasaki, which facilitated the trade between China and Holland. Therefore, merchants in the Qing dynasty travelling between Nagasaki and China played a vital role for cultural exchange. The newly discovered 52 letters written by Jiang Yun Ge and Shen Ping Xiang, two of Nagasaki's Qing merchants, have revealed many unknown stories about Japan-Sino contacts during this period. One that is of particular interest is about their relationship with Raisanyo.At the end of 1828, Raisanyo wrote "Nihon Gakufu" containing 66 pieces. His friend, Mizunobisen of Nagasaki, asked Jiang Yun Ge and Shen Ping Xiang to invite reviews from renowned Chinese writers and to put the reviews into the famous "Zhi Bu Zu Zhai Journals". With the help of Shen Ping Xiang, Chinese writers Weng Guang Ping and Qian Yong wrote a prelude and a poem respectively for "Nihon Gakufu". This anecdote demonstrates how Japanese poems were re-exported to China. It is interesting to find that while Japanese sinologists were strongly influenced by Chinese culture, they tried hard to express their voices in the sinosphere.