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Early Modern Japanese Art History-An Overview of the State of the Field

by patricia graham

2002, Early Modern Japan: An Interdisciplinary …

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patricia graham

This is an alternate version of the bibliography published in the journal EARLY MODERN JAPAN (fall 2002), arranged chronologically within categories.

Cynthea Bogel

2022, JOURNAL OF ASIAN HUMANITIES AT KYUSHU UNIVERSITY volume 7

DOI numbers may be found for individual articles and items on the Kyushu University Library here: https://www.lib.kyushu-u.ac.jp/publications_kyushu/jahq USE NOTICE OF CORRECTIONS (Errata sheet) for final item (report) by Mertz, et. al. and one correction for first article by Imazato. TABLE OF CONTENTS VOLUME 7, SPRING 2022 SATOSHI IMAZATO Inter-Changeable Religions: A Style of Japanese Religious Pluralism in Hirado Island Villages, Northwestern Kyushu . . . . . . . . . . . . . . . . . . 1 AKIKO WALLEY The Power of Concealment: Tōdaiji Objects and the Effects of Their Burial in an Early Japanese Devotional Context . . . . . . . . . . . . . . . . . . . . . . . . . . 23 AKIKO HIRAI Structural Analysis of the Dance Within the Odaidai Ceremony of Kawaguchi Asama Shrine: Choreography, Music, and Meaning . . . . . . . . . . . . . . . . 47 MEW LINGJUN JIANG A Short Visual History of Abstraction in Early Modern Japanese Karuta: Simplification, Reinterpretation, and Localization . . . . . . . . . . . . . . . . . . . . . . . 61 Report Kyushu, Asia, and Beyond YOSHINORI IWASAKI TRANSLATED BY KAZUHIRO MURAYAMA Book Collecting by a Literati Daimyo in Early Modern Japan, and the Exchange of Information: An Investigation into Catalogues of the Rakusaidō Collection in Hirado Domain . . . . . . . . . . . . . . . . . . . . . 85 Reviews Kyushu and the World, on the Fiftieth Anniversary of International Awareness of Minamata Disease MULTIPLE BOOK REVIEW BY TIMOTHY S. GEORGE W. Eugene Smith and Aileen Mioko Smith. Minamata (in Japanese). Trans. Nakao Hajime 中尾ハジメ. With contributions by Ishikawa Takeshi 石川武志, Yamagami Tetsujirō 山上徹二郎, Saitō Yasushi 斉藤靖史, and Yorifuji Takashi 頼藤貴志. Crevis, 2021. Seán Michael Wilson (text) and Akiko Shimojima (illustrations). The Minamata Story: An EcoTragedy. Berkeley: Stone Bridge Press, 2021. . . . . . . . . . . 95 BOOK REVIEW BY MARILYN ROBERT Reiko Sudo. NUNO: Visionary Japanese Textiles. Edited by Naomi Pollock. London: Thames & Hudson, 2021. . . . . . . . . . . . . . . . . . . . . . . . 103 BOOK REVIEW BY MARIA CĂRBUNE Eduard Klopfenstein, ed. Sprachlich-literarische ‘Aggregatzustände’ im Japanischen: Europäische Japan- Diskurse 1998–2018. Berlin: BeBra Wissenschaft Verlag, 2020. . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 BOOK REVIEW BY MALLY STELMASZYK Laurel Kendall. Mediums and Magical Things: Statues, Paintings, and Masks in Asian Places. University of California Press, 2021. . . . . . . . . . . . . . . . . . 119 BOOK REVIEW BY SUSAN NAQUIN Alain Arrault. A History of Cultic Images in China: The Domestic Statuary of Hunan. Translated by Lina Verchery. The Chinese University of Hong Kong Press, 2020. . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Research Report MECHTILD MERTZ, SUYAKO TAZURU, SHIRŌ ITŌ, AND CYNTHEA J. BOGEL A Group of Twelfth-Century Japanese Kami Statues and Considerations of Material Intentionality: Collaborative Research Among Wood Scientists and Art Historians . . . . . . . . . . . . . . . . . . . . . 127 Notice of Corrections . . . . . . . . . . . . . . . . . 159

Mutual Images Research Association

John G . Henley

2021, The Legacy of Japanese Artistic Influence on Art Nouveau - The Tides of Change

In order to appreciate the continental, cultural and stylistic interrelationships between Japanese, European and North American, I would that I had to go back in history to fully understand how porcelains and related artworks, especially Chinese, Japanese and then British and continental European, influenced each other. It was much more difficult to fully comprehend the transition of Japanese artworks in the western style through Art Nouveau and into Art Deco than I would have imagined.

The Heinz Kaempfer Fund and the International Institute for Asian Studies are proud to present the first seminar of a biennial series of seminars on Japanese art. With the New Perspectives series we aim to demonstrate that the study of Japanese art is very much alive and part of a global discussion. We especially invite students and (young) scholars to participate in this event!

Matthew McKelway

2014, The Art Bulletin

Joan Stanley-Baker

1994, The Journal of Asian Studies

Julie Iezzi

2006, Asian Theatre Journal

Gwyn McClelland

2019, New Voices in Japanese Studies

2019, Journal of Asian Humanities at Kyushu University (JAH-Q), vol. 4

KAREN M. GERHART Akahashi Nariko (1306–1365): A Force to Be Reckoned With . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 WILLIAM MATSUDA Poets on the Periphery: Kūkai’s Vision of Frontier Governance . . . . . . . . . . . . . . . . . . . . . . . 21 JEREMY WOOLSEY Artist as Disciple: Miyajima Tatsuo and Sōka Gakkai . . . . . . . . . . . . . . . . . . . . . . . 39 Review EXHIBITION REVIEW BY CHELSEA FOXWELL The Currency of “Tradition” in Recent Exhibitions of Contemporary Japanese Art . . . . . . . . . . . . . . 57 BOOK REVIEW BY REBECCA JENNISON Justin Jesty. Art and Engagement in Early Postwar Japan. Cornell University Press, 2018. Namiko Kunimoto. The Stakes of Exposure: Anxious Bodies in Postwar Japanese Art. University of Minnesota Press, 2017. . . . . . . . . . . . . . . . . . . . . . 77 BOOK REVIEW BY OLE BRUUN Hong-key Yoon, ed. P’ungsu: A Study of Geomancy in Korea. SUNY Press, 2018. . . . . . . . . . . . . . . . . 85 BOOK REVIEW BY ABIGAIL I. MACBAIN Dorothy C. Wong. Buddhist Pilgrim-Monks as Agents of Cultural and Artistic Transmission: The International Buddhist Art Style in East Asia, ca. 645–770. National University of Singapore Press, 2018. . . . . . . . . . . 89 BOOK REVIEW BY YOKO HSUEH SHIRAI Bryan Lowe. Ritualized Writing: Buddhist Practice and Scriptural Cultures in Ancient Japan. University of Hawai‘i Press (Kuroda Institute), 2017. . . . . . . . . 95 Research Note JEFFREY KOTYK Research Note on Brahmanical Deities in Mikkyō Astrological Art . . . . . . . . . . . . . . . . . . . . .101 Kyushu and Asia SUSUMU IGATA Demon Roof Tiles: A Study of the Dazaifu Type Onigawara Style I-A . . . . . . . . . . . . . . . . . . 109

Alicia Volk

2009, The Journal of Modern Craft

Frank L. Chance

2002, Caa Reviews

Yurika Wakamatsu

This dissertation investigates the aesthetic and conceptual transformations of literati art—a dominant mode of both being and representing in the East Asian cultural sphere that experienced unprecedented popularity in early Meiji-period (1868-1912) Japan. Although literati culture had predominantly been seen as a male prerogative since its genesis in medieval China, in early Meiji Japan, the female painter Okuhara Seiko capitalized on this mode of picture-making and self-fashioning. Producing dynamic ink landscapes and deliberately idiosyncratic calligraphy while simultaneously embodying literati ideals through her manner of living, Seiko inhabited the persona of a literatus and crafted an alternative social world. Seiko’s work thus provides a compelling lens through which to reconsider socially constructed dichotomies in the modern era—specifically, conceptions of premodernity and modernity, masculinity and femininity, and China and Japan—as she negotiated the boundaries of these ostensibly dichotomous categories to create a space in which to assert her agency. Chapter 1 reconstructs the sociocultural circumstances within which literati art thrived in the 1870s. It demonstrates that Seiko deployed literati art as a means of pursuing her autonomy, embodying eremitic ideals both in painting and in actual life and blurring the boundaries between the real world and the ideal world of litterateurs. Chapter 2 examines Seiko’s and contemporary artists’ attempts to “modernize” literati art. These efforts were formulated in response to the reconceptualization of Sinitic culture from the 1880s onward, when the newly defined category of bunjinga (literati painting), as well as Sinitic prose and poetry, came to be deemed incompatible with modernity. Focusing on Seiko’s engagement with literati art in her place of retirement, chapter 3 analyzes the ways in which works of literati art could accommodate multiple subject positions and enable an imaginative transgression of gender and cultural boundaries. Chapter 4 and the epilogue investigate discursive constructions of female artists by contemporary critics in relation to shifting conceptions of art, gender, and sexuality in the late nineteenth and early twentieth centuries. Examining the complex interactions between changing perceptions of Sinitic culture and women’s place therein, this study ultimately seeks to reconceptualize the relationship between gender and literati art.

Liliana Morais

2019, Journal of International and Advanced Japanese Studies

What do we talk about when we talk about traditional Japanese arts and crafts? What types of objects are included in this category and what cultural, social and ideological meanings do they entail? And finally, how have traditional Japanese arts been invented and reinvented throughout the history of modern Japan in order to shape a unified and monolithic image of Japanese culture in a period of national identity making? In the popular imagination, the expression "traditional Japanese arts and crafts" often entails cultural expressions connected with the past and that convey specific ideas of "Japaneseness", such as the tea ceremony, flower arrangement, martial arts, woodblock prints and ceramics, amongst others. In this article, we will not to discuss the origin and features of these arts, but will instead examine them in the context of an institutionalized national discourse that reflects historical, political and social processes involved in the making of images of Japan. The goal is to discuss the definition of traditional Japanese crafts and show how their identity is intertwined with political ideologies, historical constructions and cultural representations. Starting from the first participations of Japan in the International Exhibitions of late nineteenth century, the rediscovery of old pottery kilns and the revival of tea ceremony amongst the urban elite in the 1920s, the folk crafts movement of the prewar and postwar years, the creation of the title of Living National Treasure in the 1950s and the more recent "Cool Japan" nation branding, this article will illustrate the main historical moments that have contributed to the definition, reinvention and revitalization of certain traditional Japanese arts in the last one hundred and fifty years, drawing on authors from the field Japanese studies, social sciences, philosophy and art history from a transnational and transdisciplinary perspective.

Rosina Buckland

2013, East Asian Publishing and Society

Marcella Mariotti

Qualunque parte di questa pubblicazione può essere riprodotta, memorizzata in un sistema di recupero dati o trasmessa in qualsiasi forma o con qualsiasi mezzo, elettronico o mecca-nico, senza autorizzazione, a condizione che se ne citi la fonte. Any part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without permission provided that the source is fully credited. Edizioni Ca' Foscari-Digital Publishing Università Ca' Foscari Venezia Dorsoduro 3246 30123 Venezia http://edizionicafoscari.unive.it/ [email protected] 1a edizione ottobre 2014 ISBN 978-88-97735-75-5 (pdf) ISBN 978-88-97735-76-2 (stampa) Il volume è stato pubblicato grazie alla collaborazione di | The book has been published with the support of: Progetto grafico di copertina: Studio Girardi, Venezia | Edizioni Ca' Foscari Progetto grafico del logo «Ca' Foscari Japanese Studies»: Marco Tecco Certificazione scientifica delle Opere pubblicate da Edizio...

Aida Y Wong

Irmela Hijiya-Kirschnereit

2006, The Journal of Japanese Studies

Following the introduction of Buddhism to Japan in the sixth century, the faith quickly became a defining feature of Japanese civilization, in large part because of the diverse and abundant visual culture it engendered that both reflected and shaped its religious practice. Although Japanese Buddhism remains a vital living tradition, until the last twenty years, its visual culture created after the 16th century has received little attention by scholars. Since then, Japanese and Western language studies on focused aspects of Buddhist paintings, sculpture, and architecture, with most addressing the early modern period (ca. 1600–1868), have proliferated but until the publication of Patricia Graham’s Faith and Power in Japanese Buddhist Art, 1600–2005 (2007), no survey of materials spanning this long time period had been attempted. This brief essay does not summarize Graham’s broad analysis of the thread of change over time and the plurality of later Buddhist practice in Japan manifest in its abundant visual culture. Instead, drawing on the examples presented in Graham’s study, it introduces significant and representative sites of worship from the 17th century to the present to highlight the ways the faith became transformed in tandem with changes in Japanese society, manifested in the convergence of patronage, image production, and religious devotion at these sites. Discussion is presented chronologically in four parts beginning with an overview of studies on Japanese Buddhism’s recent visual culture. This is followed by three sections on the sites and related imagery: Buddhist sites of worship in the early modern period, Buddhist sites of worship in the modern period before World War II, and Buddhist sites of worship in the modern period after World War II.

Stephanie Su

2018, Journal of Asian Studies

2022, Japan Review

This article investigates the characteristics of scribal culture in early modern Japan and its relationship to print culture. I focus on the intersections between the activity of Ihara Saikaku and the representative scribal format of the handscroll. In his artistic production, Saikaku engaged with all aspects of handscrolls: their materiality, production, use, and social significance. I analyze Saikaku's works from two complementary perspectives that structure this study: as meta-textual and visual references to the uses and meanings of scribal formats, and as artifacts with distinct material profiles. The article shows that the meaning and use of early modern texts were intertwined with the materiality, affordance, and social context of text-bearing artifacts. This was a dynamic and palimpsestic process: scribal formats preserved echoes of authority and cultural capital while accommodating contemporary usage. While making full use of the material connotations and established uses of the format, Saikaku negotiated and innovated its meanings. Saikaku can thus be reassessed as an astute practitioner of a range of scribal practices and a versatile producer of scribal artifacts who developed a side practice of commercial publishing. Saikaku's aesthetic identity emerged from within the scribal culture and aesthetic networks of his time. For a better understanding of the dynamics of this process, the history of early modern literature needs to be recentered on the relationship between various media.

Alisa McCusker

Exhibition at the Museum of Art and Archaeology, University of Missouri 7 November 2017 - 1 April 2018

Frank Chance

2005, Monumenta Nipponica

Mutual Images Research Association , Maxime Danesin

Presentation of the 2nd Mutual Images Workshop held at Université François Rabelais de Tours (France) in 2014. Includes the abstracts of the papers presented

Liora Sarfati

2010, Museum Anthropology Review

2020, Journal of Asian Humanities at Kyushu University VOL 5, 2020 (March)

Editors: Bogel, Carter, Lazarus, Schweizer, Van Goethem. MATTHEW HAYES Registers of Reception: Audience and A7liation in an Early Modern Shingon Ritual Performance . . . . . . 1 MIKAËL BAUER Tracing Yamashinadera . . . . . . . . . . . . . . . . . 17 MARIKO AZUMA Authenticity, Preservation, and Transnational Space: Comparing Yin Yu Tang and the Linden Centre . . .29 DAIKI MIYATA Production of the Healing Buddha at Kokusenji and Its Relationship to Hachiman Faith . . . . . . . . 53 MARIA CHIARA MIGLIORE Sage Ladies, Devoted Brides: !e Kara monogatari as a Manual for Women’s Correct Behavior?. . . . . . . . 81 Reviews EXHIBITION/BOOK REVIEW BY ALISON J. MILLER The Life of Animals in Japanese Art. Exhibition. National Gallery of Art, Washington D.C. June 2, 2019–August 18, 2019. Robert T. Singer and Kawai Masatomo, eds., with essays by Barbara R. Ambros, Tom Hare, and Federico Marcon. !e Life of Animals in Japanese Art. Exhibition catalogue. Washington, D.C.: National Gallery of Art, 2019. . . . . . . . . . . . . . . . . . . . . . . . . .97 BOOK REVIEW BY CATHERINE TSAI Max Ward. !ought Crime: Ideology and State Power in Interwar Japan. Duke University Press, 2019. . . . . 103 BOOK REVIEW BY YU YANG Alice Y. Tseng. Modern Kyoto: Building for Ceremony and Commemoration, 1868–1940. University of Hawai‘i Press, 2018. . . . . . . . . . . . . . . . . . . 107 Kyushu and Asia AKIRA SHIMIZU E8uvia of the Foreign: Olfactory Experiences in Nagasaki during the Tokugawa Period. . . . . . . . 113

Gina Barnes

Reviewed by Gina L. Barnes 1993, published in "Ars Orientalis" 24:168-9 (1994) with minor modification from typescript here.

Elizabeth Horton Sharf

Chelsea Foxwell

“Dekadansu: Ukiyo-e and the Codification of Aesthetic Values in Modern Japan, 1880-1930.” Octopus: A Visual Studies Journal 3 (2007): 21-41.

Shalmit Bejarano

The canonic Chinese theme Pictures of Agriculture and Sericulture 耕織圖 (Chinese: gengzhitu, Japanese: kōshokuzu) was transmitted to Japanese painting circles from the fifteenth- through the nineteenth- centuries. Paintings with agrarian motifs decorated the palaces of the Ashikaga shoguns and the abbot's quarters in the Daisen'in temple, and were reproduced many times by masters and disciples of the Kano school throughout the Edo period (1603-1868). From theeighteenth century on, agrarian vignettes also appeared in woodblock prints of various types:from the encyclopedic guidebook to the erotic color print.My dissertation focuses on this theme as a case study of painterly transmission. The first chapter compares the wall-paintings in the Daisen'in with earlier Chinese paintings, anddemonstrates that Japanese painters consciously altered the original figures in order to change their Confucian messages. Thus, I propose that the transmission of k!shokuzu exemplifies that pain...

2001, Journal of Fine Arts

This paper is a short, methodologically limited excursion into investigating what is a large question, not without practical importance for Australia and its art world: the structure of Japanese perceptions of and relations with 'modern Asian art'. Published in 2014: ‘Japan and Modern Asian Art’, Journal of Fine Arts [Bangkok: Silpakorn University] vol. 1 no. 2, 49-78.

Reviewed by Robert Borgen and Gina L. Barnes Published in the Journal of Japanese Studies, 22:1: 129–133 (1996)

Asato Ikeda

Michael Facius

(MA Global History & Japanese Studies, FU Berlin, Summer 2017) In recent years, a full-blown paradigm shift of early modern Japanese history has been under way. Previously, Tokugawa Japan (1600–1868) was often understood as a “closed country” (sakoku), defined precisely by the absence of significant connections to the rest of the world. Now, scholars are rediscovering and re-evaluating the manifold cultural, economic and diplomatic exchanges with its neighbors and the wider world that took place throughout the early modern period. In this seminar, we will engage with recent research and translated sources that explore Japan’s place in East Asia and the world. While starting out with a general framework of early modern history, the seminar does not offer a balanced account of all aspects of Tokugawa period Japan. Instead it focuses specifically on topics that shed light on the ways in which Japan participated in, shaped, and in turn was influenced by larger spatial and cultural configurations.

2019, Nineteenth-Century Contexts

Scholars of Asian civilization have often pointed to the primacy of aesthetic value experience or artistic intuition as the distinguishing feature of Japanese culture. In his anthology entitled The Japanese Mind, Charles Moore summarizes the conclusions of several renowned Japanese and Asian scholars on this subject as follows： Tagore has called aesthetics Japanfs unique Dharma. Kishi-moto, here, speaks of the aesthetic as being so significant as to be identical with the religious in Japan, in what is surely a unique emphasis on the aesthetic. Kosaka, here, points to the essential aesthetic emphasis in Japanese culture practically throughout its history—such that Japanese culture is an aesthetic culture. And Nakamura, here and elsewhere, stresses what he calls the primacy of the aesthetic, the intuitive and the emotional.... So important is the aesthetic in Japanese

Yukio Lippit

Korean Journal of Art History

This essay examines the Japanese reception of the Korean painter Yi Am 李巌(b. 1499), and by extension considers the relationship between ink painting technique and pictorial meaning. In particular, it examines how Yi Am’s unique approach to the painting of puppies with blended washes of ink opened up new interpretive possibilities among Japanese viewers. Although Yi Am’s puppy paintings appear to have been circulating in Japan as early as the seventeenth century, they were misattributed to Chinese painters such as Mao Yi, and Yi Am’s seal was mistaken as belonging to a Japanese monk-painter of the Muromachi period. The monochrome ink puppy paintings of the Kyoto artist Tawaraya Sōtatsu 俵屋宗達(ca. 1600-1640), however, depict the bodies of their canine protagonists with the same wash-based approach found in Yi Am’s works, and appear to have been catalyzed in some way by an encounter with the Korean artist’s paintings. In the case of Sōtatsu, this approach eventually came to be known as t...

2020, Mutual Images

Table of Contents Source: Mutual Images [Online], Issue 8, Spring, 2020. ISSN: 2496-1868. Doi: https://doi.org/10.32926/8 Freely available at our Open Access Journal : http://www.mutualimages-journal.org

Hank Glassman

2009, Japanese Journal of Religious Studies

2017, Journal of Asian Humanities at Kyushu University (JAH-Q)

Cynthea J. Bogel (Kyushu University) Managing editor Tomoyuki Kubo (Kyushu University) Table of Contents Pawel Pachciarek Kusama Yayoi in the Context of Eastern and Western Thought . . . . . . . . . . . . . 1 Elizabeth Tinsley The Composition of Decomposition: The Kusōzu Images of Matsui Fuyuko and Itō Seiu, and Buddhism in Erotic Grotesque Modernity . . . . . . . . . . . . . 15 Anne Vincent-Goubeau Chen Zhen and the Obviousness of the Object . . . 47 Ugo Dessì Recent Developments in the Japanese Debate on Secularization. . . . . . . . . . . . . . . . . . . . 57 Eva Seegers A Tibetan Stupa within the Flow of Cultural Transformations: The Opportunities and Challenges of Transplanting Buddhist Architecture from Asia to Europe . . . . . . . . . . . . . . . . . . 67 Elisabetta Porcu Tenrikyō’s Divine Model through the Manga Oyasama Monogatari . . . . . . . . . . . . . 85 Henny Van Der Veere The Importance of Kōden in the Establishment of Identity: The Title of the Dainichikyō in the Opening Sequence of the Hizōki . . . . . . . . . . . 95 Peter Kornicki with T.H. Barrett Buddhist Texts on Gold and Other Metals in East Asia: Preliminary Observations . . . . . . . . . . . . . . 111 Radu Leca Turning “Sites of Remembrance” into “Sites of Imagination”: The Case of Hideyoshi’s Great Buddha . . . . . . . . . . . . . . . . . . . . . 125 Review BooK Review by Bryan D. Lowe Heather Blair. Real and Imagined: The Peak of Gold in Heian Japan. Cambridge, MA: Harvard University Asia Center, 2015. . . . . . . . . 137 Kyushu and Asia Takeshi Shizunaga Dr. Sun Yat-sen’s Visit to Fukuoka and the History of China-Japan Academic Cooperation at Kyushu University . . . . . . . . . . . . . . . . . . . . . . . . 143

2021, Mutual Images

Table of Contents Source: Mutual Images [Online], Issue 9, Autumn, 2020. ISSN: 2496-1868. Doi: https://doi.org/10.32926/9 Freely available at our Open Access Journal : http://www.mutualimages-journal.org

Martha Chaiklin

2014, East Asian History

2017, Journal of Cultural Interaction in East Asia

Ayelet Zohar

2014, The Journal of Asian Studies

Will Gardner

Hitomi Tonomura

2020, Cambridge World History of Violence, vol. II, Volume II: the Medieval Era, (Cambridge, UK; Cambridge University Press), edited by Richard W. Kaeuper, D.G. Tor and Harriet Zurndorfer, pp.556-575.

Equivocal and ubiquitous in modern usage, ‘violence’ is a term that has no premodern Japanese counterpart. I employ the vocabulary of violence as a conceptual framing tool to probe the possible meanings that underlie descriptions of injured, dismembered or lifeless bodies, perhaps the most legible and emotive evidence of warfare violence. The images I examine emerged during the War of Northern and Southern Courts (c. 1331–92), a seminal conflict that shook Japan’s medieval world and charted a new trajectory for the country’s relations of power. In this war, hitherto rare or unseen representations of dismembered bodies and mutilating acts proliferated. Approaching these images as consciously crafted gendered embodiment of the character of this war, I localise an understanding of violence as expressions of the specific political, philosophical and economic circumstances.

Marco Meccarelli.

During the Tokugawa Period (also known as the Edo Period, 1603-1868), the Japanese government adopted a political strategy of a drastic isolation, known as sakoku (“the chained country”). By 1641, the port of Nagasaki (Kyūshū) was the only port open to Chinese and Dutch ships, and the city was undergoing a great transformation – from a small fishermen shore to an important cultural and artistic centre. At least until 1720, Dutch merchants, just like the Portuguese and Spanish missionaries (called nanbanjin, “southern barbarians”) in the 16th century, had largely contributed to the spread of the natural sciences and Western art in Japan. But while missionaries used art, science, and technology as tools to arouse the Japanese élites’ interest in Christian religion, Dutch merchants were mostly motivated by commercial interests. The prominent role of Nagasaki was a significant step in the reconstruction of Japanese painting tradition. On one hand, the commercial activity in the port of Nagasaki facilitated the spread of Western knowledge in Japan; on the other hand, Japanese people were particularly interested in the millenarian Chinese culture. The doctrine of Neo-Confucianism (Song-Ming lixue), in fact, was adopted as an official ideology, becoming the philosophical base for the ethical code of the samurai, as well as a useful theoretical support to the political order upheld by the Tokugawa system. Both Dutch and Chinese traders produced different cultural movements that finally reached the Nagasaki schools of painting (Nagasakiha kaiga). Nagasaki schools of painting were particularly active between the 17th and 19th century. Their main purpose was to reproduce and study the styles of painting that appeared in Nagasaki. Scholar Iwasaki Yoshikazu differentiates five main schools, then puts the five schools together in three main categories. Some scholars also listed other schools. I shall argue that the ‘Nagasaki school’ should be intended as a broad term including not only the schools’ production but also the multiple factors that are directly or indirectly linked to the city and that occurred in the development of a specific style of painting. Thanks to the development of a wide variety of drawing techniques, painting styles, and methodologies in applying ink and colours, Nagasaki artists developed in Japan an interesting artistic production that was inspired to cross-reference influences coming from Europe and China. The artistic experimentation and painting creativity of Nagasaki artists could ‘refresh’ the tradition of Japanese painting, enriching the imagery and subject matters of traditional paintings, and developing a highly sophisticated decorativism. The role Chinese artists played in the transmission of Chinese and European styles to Nagasaki should not be underestimated, especially of those coming from regions such as Fujian and Zhejiang. The purpose of this paper is to especially focus on the six main factors I have identified as directly responsible for the Chinese cultural transmission, although some of them cannot properly be considered as schools, but just as movements, or painting styles. Each of these factors interested different aspects of Chinese painting culture. The artistic eclecticism was a crucial aspect of ‘Nagasaki school’, and the contaminatio between types and styles of art was the basis of much of its creative vitality. It seems clear, therefore, that the role Nagasaki painters played in revitalising Japanese painting tradition can no longer be underestimated.

Patrick Schwemmer

The subjects and objects of performance studies and art history might seem at first glance to be mutually exclusive, but this panel draws on the rich early-modern archive to explore performances starring objects, objects storing performances, and agents who signify in spaces between subject- and object-hood. Screech deepens our understanding of Tokugawa diplomacy, expanding in recent scholarship, by introducing an exchange of precious objects, many still extant, between Hidetada and King James I of England. Kanemitsu follows itinerant female bards as they change from the storytellers into the story told, picking up clues to their social identity from the material culture described in their ballads. Schwemmer introduces a previously-unknown picture-scroll adaptation of a post-medieval ballad which exorcises the violence of peacemaking, sublimating medieval warrior culture at the dawn of the Edo order. How do we conceptualize political or other agency in a performance studies that includes objects as actors? What does the performativity of artistry, curatorship, and exchange, mean for art history? We break new methodological ground with reference to bodies both animate and inanimate.

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52 Japanese Art Essay Topic Ideas & Examples

🏆 best japanese art topic ideas & essay examples, 🎓 good research topics about japanese art, 🥇 interesting topics to write about japanese art, 💯 free japanese art essay topic generator.

• Kimono Art in Traditional Japanese Clothing The Kimonos were introduced in the Japanese culture during the Heian period. The government of the time agitated for westernization, where the Japanese people were to adopt western culture including the western attire.
• Yayoi Kusama’s Art and Oriental Way of Life Such a point of view is, of course, is fully legitimate – especially given the unconventional aesthetic subtleties of Kusama’s artistic installations, the long history of psychosis, on the author’s part, and the fact that […]
• Women in Art: Yayoi Kusama, Maya Lin, Zaha Hadid In her autobiography, Kusama says that “deep in the mountains of Nagano,” where she was born in 1929, she had discovered her style of expression: “ink paintings featuring accumulations of tiny dots and pen drawings […]
• Traditional Japanese Architecture One of the major causes of the abovementioned twists has been the commencement of Buddhism in the country, which was greatly influenced by the socialism from China.”Beasley believes that “by the eleventh century the Chinese […]
• The Influence of Japanese Art Upon Mary Cassatt Critics admit that Japanese motifs are evident in her works especially in her entire work, devoted to the representation of woman and the child, which is a kind of revenge for repressed maternity: unmarried, she […]
• Japanese Painters: Asai Chu and Hashimoto Hashimoto Sadhide a renowned Japanese painter born in 1807 and he died in 1878; the painter lived in the city of Yokohama which was known to be a western settlement.
• Effects of Globalization in the Contemporary Japanese Art They have in turn influenced the art of painting in Japan to develop it and push it to a global level.
• Japanese Kimono: A Part of Cultural Heritage The other reason behind the waning popularity of the kimono is the intricate design used in its knitting. In the beginning of the 18th century, the name of this garment was changed to kimono.
• Mono-Ha. Japanese Art Style. Concepts and Impact on Cultural Trends These movements and styles developed as a result of a special vision of the world common for Japanese people who are known for their devotion and tender affection to nature and its beauty, and the […]
• The Complexity of Traditional Chinese and Japanese Theater Arts Comedic plays gained popularity since the start of the theater in 1603, but public outrage over the vulgarity and excess eroticism of kabuki led to the government prohibiting women from acting in the plays.
• V. Horta’s Tassel Hotel and the Pavilion for Japanese Art by B. Goff The Art Nouveau works of art are characterized by the use of the new materials and technologies from one side and the motives of the ancient myths and spiritual world on the other.
• Japanese Shrines Architecture Uniqueness They also concentrated much on the visual elegance and the actual balance of the building compared to the level of the environment.
• Ancient Egyptian and Japanese Art: Comparative Analysis
• Art Criticism Using the Frames – Chinese and Japanese Art
• Ancient Japanese Art Artists Hiding Place
• Comparative Analysis of Chinese and Japanese Art
• Exploring the Unique Japanese Art
• Impressionist Artists and the Influence of Japanese Art
• Overview and Analysis of Japanese Art and Culture
• Japanese Art During the Asuka Period
• Kabuki, the Japanese Art vs. Puccini’s Madame Butterfly: Comparison
• Japanese Art Infused Into the Temple of Todaiji
• Overview and Analysis of Modern Japanese Art
• Japanese Art: Shinto vs. Buddhism
• Origami: The Japanese Art of Paper Folding
• Japanese Art: World War II and American Occupation
• The Great 19th Century Impressionists Influenced by Japanese Art
• Urawaza: The Japanese Art of Lifehacking
• The Effect of Culture and Mythology on Japanese Art
• Japanese Manga as an Art Form
• A Study of the Origin of Judo and Jujutsu, a Japanese Art
• An Overview of the Beauty Principle in Japanese Art
• The Most Collected and Popular Kind of Art, the Japanese Art
• The History of Japanese Art Before 1333
• Japanese Art: The Edo Period of the Japanese Culture
• Analysis of Western Influence on Japanese Art
• How Japanese Art Influenced Their Works of Art
• Effects of Japanese Art on French Art in the Late 19th Century
• The Link Between Japanese Art and Shintoism
• How Japanese Art Influenced Van Gogh’s Paintings
• Comparison of Non-western Art vs. Japanese Art
• Overview of the Japanese Art of Ukiyo-e
• Literature, Art, Sport, and Cuisine of Japanese Culture
• Contemporary Japanese Art: Between Globalization and Localization
• The Impact of the First World War on Japanese Art
• Japanese Art: The History of Pottery
• John la Farge’s Discovery of Japanese Art
• Japanese Art: History, Characteristics, and Facts
• Looking at the Most Famous Japanese Artists and Artworks
• From Japonisme to Japanese Art History: Promoting Japanese Art in Europe
• Overview of Major Themes in Japanese Art
• The Chinese Influence on Japanese Art
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Free Research Paper About The Source Of Japanese Art And Its Impact On Global Art

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I. Introduction

B. Background of Japan and its Culture II. Zen Art

A. Zen Buddhism

B. What is Zen Art? C. Influence of Zen of Japanese Arts and Culture III. Aesthetics of Japanese Art - Wabi Sabi and Shibui - Wabi Sabi in Contemporary Japanese Homes - Wabi Sabi with reference to an image IV. Conclusion

Art And Architecture: Japanese Art Research Paper

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Good Research Topics about Japanese Art

• Ancient Egyptian and Japanese Art: Comparative Analysis
• Art Criticism Using the Frames – Chinese and Japanese Art
• Ancient Japanese Art Artists Hiding Place
• Comparative Analysis of Chinese and Japanese Art
• Exploring the Unique Japanese Art
• Overview and Analysis of Japanese Art and Culture
• Japanese Art During the Asuka Period
• Kabuki, the Japanese Art vs. Puccini’s Madame Butterfly: Comparison
• Japanese Art Infused Into the Temple of Todaiji
• Overview and Analysis of Modern Japanese Art
• Japanese Art: Shinto vs. Buddhism
• Origami: The Japanese Art of Paper Folding
• Japanese Art: World War II and American Occupation
• The Great 19th Century Impressionists Influenced by Japanese Art
• Urawaza: The Japanese Art of Life Hacking

Interesting Topics to Write about Japanese Art

• The Most Collected and Popular Kind of Art, the Japanese Art
• The History of Japanese Art Before 1333
• Japanese Art: The Edo Period of the Japanese Culture
• Analysis of Western Influence on Japanese Art
• How Japanese Art Influenced Their Works of Art
• Effects of Japanese Art on French Art in the Late 19th Century
• The Link Between Japanese Art and Shintoism
• How Japanese Art Influenced Van Gogh’s Paintings
• Comparison of Non-western Art vs. Japanese Art
• Overview of the Japanese Art of Ukiyo-e
• Literature, Art, Sport, and Cuisine of Japanese Culture
• Contemporary Japanese Art: Between Globalization and Localization
• The Impact of the First World War on Japanese Art
• Japanese Art: The History of Pottery
• John la Farge’s Discovery of Japanese Art
• Japanese Art: History, Characteristics, and Facts
• From Japonisme to Japanese Art History: Promoting Japanese Art in Europe
• Overview of Major Themes in Japanese Art
• The Chinese Influence on Japanese Art

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