Japonisme in Print: Japanese Style / Western Culture

Amsterdam University Press eBooks, 2016

Mission statement and objectives Foreword by the Chair of the Management Board Director's statement Message from the Director and principal of SoAS Research networks Research projects Art and cultural resources Japanese archaeology and cultural heritage Japanese literature in Art Colloquy series lectures and symposia Fellowships lisa Sainsbury library publications third thursday lectures Calendar of events Supporters Management Board and staff Management and finance Japanese summary Dogū clay figure from the Final Jōmon period (c. 1000-400 BC), earthenware, h. 19.0 cm., Robert and lisa Sainsbury Collection, university of east Anglia.

University of Tokyo Press eBooks, 2018

Reviewed by Brenda G. Jordan N obuo Tsuji's History of Art in Japan was originally published by the University of Tokyo Press in 2005 and is now available in English translation. The book covers Japan's art history from the ancient Jōmon Era all the way to the rise of manga and anime in the twentieth century. Included is a list of the main historical eras in both Romanization and Japanese; a map of archaeological sites; a timeline for Japan, Korea, and China; long lists of scholarly English-languages sources on Japanese art; and an extensive index that usefully includes the Japanese rendering of words. The author is Professor Emeritus at the University of Tokyo and Tama Art University. Tsuji is considered one of the preeminent Japanese art historians of his generation, a trailblazer in the research on Japanese eccentrics and the arts of playfulness in Japan. His introduction to this book takes a refreshingly different approach from the usual beaux arts (fine arts) focus of old by including a broad selection of Japanese arts: painting, sculpture, ceramics, lacquer, textiles, metalworking, architecture, gardens, calligraphy, photography, printmaking, and design. Rather than prioritizing one kind of art over another, Tsuji develops three concepts: "wonderous adornment (kazari), playfulness (asobi), and animism. " This kind of approach enables us to view the history of art in Japan more broadly and in tune with the current field of art history, as the idea of bijutsu (fine arts, beaux arts) didn't exist in Japan until the latter part of the nineteenth century. The numerous scholars who assisted the translator with this edition worked hard to provide context; Tsuji, like so many Japanese scholars, assumed a great deal of knowledge on the part of his readers. Even with that, there are likely to be sections that are harder for someone unfamiliar with Japan to fully understand, particularly the numerous references to sites and objects that are not illustrated. The book is probably most useful to graduate students and scholars of East Asian art history, especially Japanese art history, and particularly as a reference book. Some chapters, such as the introduction and chapter 1 on "Jōmon: The Force of Primal Imagination, " can be used for readings in a college classroom as context for the instructor's presentations. Other chapters, such as chapter 3, "Asuka and Hakuhō: The Sphere of East Asian Buddhist Arts, " require a great deal of previous background in Buddhist art, particularly that of China, in order to understand the text. An instructor might use selected readings from Tsuji's book to complement other texts such as Asian Art (Dorinda Neave, Lara Blanchard, and Marika Sardar, 2013) rather than attempt to use it as a main text. Even as an upper-level undergraduate or graduate-level text, the instructor would need to provide historical background and contextualization in order for students to fully understand the material. The book is extremely useful for providing a great deal of information and current research in a comprehensive English-language text.

This is a continuation of my paper on the influence/influencing of Japanese arts associated with Japanism, Arts and Crafts and most importantly Art Nouveau

Exhibition at the Museum of Art and Archaeology, University of Missouri 23 June - 29 October 2017

Mutual Images, 2020

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

Journal of Asian Humanities at Kyushu University, 2019

The Currency of "Tradition" in Recent Exhibitions of Contemporary Japanese Art EXHIBITION REVIEW BY CHELSEA FOXWELL T he tone of several recent exhibitions in New York, Honolulu, Chicago, Boston, and Tokyo shows that the theme of tradition, however construed, remains prominent in contemporary Japanese art. This is perhaps unsurprising: as Keith Moxey emphasized in his book Visual Time (2013), "Modernity and its artistic partner, modernism, have always been tied to the star of temporal progress. The time of modernity is teleological, and its home lies in the West." 1 From the beginning of the twentieth century to the present day, artists who were born, trained, or who work in Asia, Africa, and Central and South America, and whose artistic heritage may be unfamiliar to many viewers, seem to field more than their fair share of questions about the role of "tradition" in their art. Tradition is sited far from modernism's historic centers because "it was only possible for Western powers to aspire to control the rest of the globe's culture if [non-Western locales] were characterized not only as spatially exotic but also as temporally backward." 2 With Euro-America serving as modernity's home base, the This article originated in a presentation delivered at the University of Hawai'i at Mānoa. I am grateful to the editors and to the anonymous reviewers for their comments and suggestions.

This two-day international symposium is the first of its kind in the UK to refocus on the varied sources for uncovering early modern Japan such as prints, books and ephemera. Bringing together perspectives from various fields of the human and social sciences, this symposium will provide an interdisciplinary space for discussing the role of sources as media and as research materials.

Mutual Images, 2021

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

Japonisme: Japan and America in Artistic Encounter Course Description This course examines the Westernization of Japan alongside the growing popularity of Japonisme in the United States, focusing on the period from the so-called opening of Japan to the West in 1853-54 to the Russo-Japanese War in 1904-1905. This course considers how Japan and America imitated each other and how this cultural exchange related to the development of imperialist ideologies in both states. We will examine a range of literary and visual culture from government reports, travel narratives, letters, and novels to prints, painting, great exhibitions, decorative art, architecture, theater, opera, and film. We will also pay particular attention to the role of women in shaping Japanese-American exchange as travelers, artists, writers, subjects of representation, and embodiments of cultural difference. Through research projects, readings, and class Grading The grading breakdown is as follows: