Dissertations / Theses: 'Asian Art and Architecture'

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Tan, Eliza. "Yoshiko Shimada : art, feminism and memory in Japan after 1989." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37319/.

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This thesis investigates the intersection of art, feminism and postwar memory in Japan through lens of artist Yoshiko Shimada. Coinciding with unprecedented geopolitical shifts occurring in the final thaw of the Cold War, the year 1989 marks a fraught moment in Japan when spectres of the nation's imperialist past and its historical entanglements acquired renewed potency in the wake of Emperor Hirohito's death. Born in 159, Shimada gained international prominence in the 1990s for her critique of the national body, in particular, the relationship between women and the imperial wartime state. Her work, which unapologetically confronts Japan's WWII aggressions in Asia, its wider histories of occupation, and issues such as the fiercely contested legacies of former 'comfort women' vitally reflects on the social role and agency of art and artist in a climate of political unease emergent at Showa's close. Based on extensive interviews with the artist and research into her primary archive, this is the first comprehensive survey chronicling Shimad;s twenty-five year oeuvre. It situates her practice between two vectors: feminism in Japan and its engagement with Western scholarship, and traces the 1990s 'feminist turn' led by art historians such as Chino Kaori, who began to champion the application of gender perspectives in the study of Japanese art. Within the wider Asian region, the concurrent development of transnational women's art' networks, exhibitions and publications dovetailed with the burgeoning of performance art was protest. As one of the most outspoken feminist art activists of her generation, Shimada has borne key witness to the changing cultural conditions informing women artists' organised activities and the writing of their social histories. This interdisciplinary study incorporates a range of perspectives drawn from art history and gender studies, film and performance theory, memory and trauma studies, Japanese studies and cross-cultural scholarship. It highlights the formal and conceptual interactions between printmaking, performance, installation and lens-based media in Shimada's practice, and demonstrates the plural ways in which her reflexive aesthetics and visual strategies express the tensions and complexities characterising processes of remembering, forgetting and representing the past. By interweaving arguments about the crucial role of feminism in challenging dominant narratives of nation, race, sex and ethnicity, with critical perspectives central to discourse on postmodern Japan, questions are raised concerning the implications of gender, tradition and popular culture for art produced in this age of anxiety. The recent proliferation of problem-oriented, politically engaged practices following the 2011 Great East Japan earthquake and tsunami marks an ostensible 'return to the social' and departure from privileged tropes of 'Japaneseness' in artistic experimentation. Taking this into account, this thesis proposes that revisiting the recent history of feminist art interventions reveals valuable insights into the role of art in understanding and addressing trauma, and engaging marginalised histories and communities. This is exemplified by Shimada's work, which offers a powerful vantage point from which to contemplate art's political inflections, its social potential and the urgency of memory work both in Japan, and in our contemporary societies today.

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Ferrell, Susanna S. "Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.

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Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.

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Smith, Katherine. "Continuity and Change in a 19th Century Illustrated Devi Mahatmya Manuscript From Nepal." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3564.

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In the Hindu tradition of the Indian subcontinent, worship of the goddess has long been practiced as supreme embodiment of the divine. Around the second century, a Sanskrit Purana (ancient Hindu text that extols deities) titled the Markandeya Purana details the battles of the supreme Goddess Durga against the illusions and negative energy in the universe. This textual version of the Devi Mahatmya “Praise of the Goddess” serves as the foundation for the nineteenth century Nepalese illustrated Devi Mahatmya, commissioned by Tej Bahadur Rana from Pokhara district in Nepal. Because the folios closely follow the textual Devi Mahatmya, the illustrations’ amalgamation of styles demonstrates a double entendre of religious and political frameworks represented through Indian religious iconography with localized motifs and styles from Nepal. In this study, I argue that the illustrated Nepalese Devi Mahatmya indicates a shift in power from the Shah aristocracy to Rana oligarchy. This Devi Mahatmya contextualizes the social, religious, and historical events of nineteenth century Nepal, as a unique extension to the current scholarship about the Devi Mahatmya since it is dated and has a known patron. The intentional amalgamation of previous Newar styles, localized elements, and European décor reveals the mythical being contemporized, that is, drawing from English modernism to empower the Rana family, adding a unique flair to this manuscript as opposed to previous Devi Mahatmyas of Indian Guler or Newar style. Within the nineteenth century Nepali Devi Mahatmya, the background of this Devi Mahatmya is Guler-inspired, utilizing lightly hued backgrounds and landscapes, suggesting that the artist(s) had observed Guler compositions prior to this commission. The Nepali and Newar motifs contextualizes the Devi Mahatmyas commissioning in Pokhara, as these elements comment on the clan patriarch Jung Bahadur Rana and uncle of the patron usurping power from the Shah king, asserting a new Rana oligarchy that would last until 1951. As a result, this Devi Mahatmya is used as an offering to the goddess to legitimize Prime Minister Jung Bahadur Rana and the nephews that would follow his legacy.

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Chen, Karen Y. "Constructing Historical Truth: An Examination of the Chinese Art Market As A Reflection of China’s Concerted but Conflicted Contemporary Reconciliation with its Problematic Past." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/877.

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This paper examines the connection between art and nationalism in Chinese culture and asserts that the recent market boom and price jump in Chinese fine art reflects a concerted yet conflicted effort by the Chinese government and Chinese society as a whole to reconcile with a problematic twentieth-century past. The paper first delves into the historical practice of utilizing art to construct political narratives though Ming-Qing dynasties before examining how antiquarianism was utilized by Mao Zedong himself and by the modern day Chines Communist Party.

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Helland, Madeline. "Syncretic Souvenirs: An Investigation of Two Modern Indian Manuscripts." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1185.

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The objective of this project was to establish a provenance for two Indian manuscripts that were recently discovered in the collections at Scripps College. Based on their illuminations, script, and binding structure, I was able to conclude that these two manuscripts are Hindu religious texts created around the 19th or 20th century. To determine an approximate origin and the significance of these volumes, my research focused on the syncretism of religion, material history, and power dynamics in India. Their context was specifically framed within the history of manuscript construction and conservation.

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Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.

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Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.

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Brown, Kerry Lucinda. "Dīpaṅkara Buddha and the Patan Samyak Mahādāna in Nepal: Performing the Sacred in Newar Buddhist Art." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3635.

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Every four years, in the middle of a cold winter night, devotees bearing images of 126 Buddhas, Bodhisattvas, and other important deities assemble in the Nepalese city of Patan for an elaborate gift giving festival known as Samyak Mahādāna (“The Perfect Great Gift”). Celebrated by Nepal’s Newar Buddhist community, Samyak honors one of the Buddhas of the historical past called Dīpaṅkara. Dīpaṅkara’s importance in Buddhism is rooted in ancient textual and visual narratives that promote the cultivation of generosity through religious acts of giving (Skt. dāna). During Samyak, large images of Dīpaṅkara Buddha ceremoniously walk in procession to the event site, aided by a man who climbs inside the wooden body to assume the legs of the Buddha. Once arranged at the event, Dīpaṅkara is honored with an array of offerings until dusk the following day. This dissertation investigates how Newar Buddhists utilize art and ritual at Samyak to reenact and reinforce ancient Buddhist narratives in their contemporary lives. The study combines art historical methods of iconographic analysis with a contextual study of the ritual components of the Samyak Mahādāna to analyze the ways religious spectacle embeds core Buddhist values within in the multilayered components of art, ritual, and communal performance. Principally, Samyak reaffirms the foundational Buddhist belief in the cultivation of generosity (Skt. dāna pāramitā) through meritorious acts of giving (Skt. dāna). However, the synergy of image and ritual performance at Samyak provides a critical framework to examine the artistic, religious, and ritual continuities of past and present in the Newar Buddhist community of the Kathmandu Valley. An analysis of the underlying meta-narrative and conceptualization of Samyak suggests the construction of a dynamic visual narrative associated with sacred space, ritual cosmology, and religious authority. Moreover, this dissertation demonstrates the role of Samyak Mahādāna in constructing Buddhist identity in Nepal, as the festival provides an opportunity to examine how Newar Buddhists utilize art, ritual, and performance to reaffirm their ancient Buddhist heritage.

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Paek, Seung Han. "Urbanism, Signs, and the Everyday in Contemporary South Korean Cities." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404664900.

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Swan, Marilyn Rose. "HAYASHI YASUO AND YAGI KAZUO IN POSTWAR JAPANESE CERAMICS: THE EFFECTS OF INTRAMURAL POLITICS AND RIVALRY FOR RANK ON A CERAMIC ARTIST’S CAREER." UKnowledge, 2017. https://uknowledge.uky.edu/art_etds/15.

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The use and firing of clay to make art instead of vessels was a revolutionary concept in Japan when it first was introduced by Hayashi Yasuo in 1948 with Cloud, and expanded upon by Yagi Kazuo in 1954 with Mr. Samsa’s Walk. Although both avant-garde artists were major forces in the advancement of abstract, nonfunctional ceramics, Yagi is usually given sole credit and occupies a prominent place in the literature, while Hayashi’s name can scarcely be found, despite his numerous international awards, large body of work and career spanning seven decades. This thesis seeks to identify the factors that influenced the direction of their careers and the unbalanced reception of their work. It compares their backgrounds, personality traits, avant-garde affiliations, and positions on art and ceramics, in relation to the norms and prerequisites for success in Kyoto’s deeply stratified, convention-bound ceramic community. The pervasive practice of rating and society’s emphasis on affiliation and rank were significant forces in this situation, as were issues that divided Japan’s art world -- the separation and unequal ranking of fine art and traditional craft, or the value of individual expression versus technique and tradition. Ultimately, this study reveals an insular world during a decade (1946–56) of crisis and transition that is rarely studied in the West from the perspective of ceramic art.

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Wu, Wei. "Spreading Seeds: Ai Weiwei's Sunflower Seeds and His Performative Personality Received in the West." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1046.

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In 2010, Ai Weiwei's Sunflower Seeds made its debut in Tate Modern, which promoted Ai to be one of the most famous and respected contemporary Chinese artists. This Conceptual art work has multiple layers of meanings, which all corresponds to the Western expectations for a successful contemporary Chinese artist. In fact, the Western art world has long held bias and stereotypes towards international artists. Ai chose to perform his personality to conform to the expectations and Western ideologies, which brought him international fame. On the other hand, other Chinese artists, including Cai Guo-Qiang and Zhou Chunya, don't totally agree with these Western ideologies, and therefore their fame in the society are less distinguished than Ai.

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Ramos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.

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Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.

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Hall, Kenneth Estes, Esther Yau, and Tony Williams. "Running Out of Time, Hard-Boiled, and the 24-Hour Cityscape." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/465.

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Book Summary: The first comprehensive collection on Hong Kong neo-noir cinema, this book examines the way Hong Kong has developed its own unique version of noir since the late 1940s, while drawing upon and enriching global neo-noir cinemas. With a range of contributions from established and emerging scholars, this book illuminates the origins of Hong Kong neo-noir, its styles and contemporary manifestations, and its connection to mainland China before and after the 1997 Handover. Case studies include classics such as The Wild, Wild Rose (1960) and more recent films like Full Alert (1997), Exiled (2007) and Shinjuku Incident (2008). It provides a fresh look at the careers of iconic figures Johnnie To, Jackie Chan and Fruit Chan. By examining the films of émigré Shanghai directors, the cool women killers, the hybrids and noir cityscapes, Hong Kong Neo-Noir explores the complex connections between a vibrant cinema and global noir.

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Greaves, Laxshmi. "Brick foundations : north Indian brick temple architecture and terracotta art of the fourth to sixth centuries CE." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/87038/.

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The thesis aims to develop an understanding of the nature and evolution of brick temple architecture in the subcontinent, focusing in particular on terraced Hindu structures of the fourth to sixth centuries CE. It also seeks to advance understanding of the iconography and artistry of the terracotta relief panels that once graced the outer walls or platforms of Gupta period brick temples. To date, scholarship on Hindu temple architecture of the Gupta period has primarily focused on cave and structural stone temples, while brick temple architecture of the epoch, along with terracotta reliefs and sculptures, have largely been confined to the margins of historical studies. This approach has led to the formation of a somewhat distorted picture of the architectural landscape of the Gupta period. To address this shortcoming, all of the known terraced structures in the subcontinent have been mapped in order to establish an understanding of the development and dissemination of this mode of architecture. The architectural form and relief sculpture of the vast terraced brick Śaiva monument known as ACI or Bhimgaja, situated at the heart of the ancient fortress city of Ahichhatrā in Uttar Pradesh, forms the main case study for the thesis - with architecture being the subject of the first half of the thesis. ACI is compared with a terraced brick Vaiṣṇava structure at Pawāyā in Madhya Pradesh, formerly the Nāga centre of Padmāvatī, and with the only standing brick temple of the Gupta period, at Bhītargāon in Uttar Pradesh. Despite the scale and complexity of the former two monuments, neither has received adequate scholarship. A series of fifth- and early sixth-century CE ornamental terracotta pilaster and frieze fragments from Ahichhatrā, held in the reserve collections of the British Museum, are examined within the context of Gupta period temple architecture; the objective being to determine where each of the fragments would have been positioned on a temple. On the basis of these artefacts and related pieces from the site, it is possible to build up a picture of the type of décor that would have adorned the exterior of ACI. The many intriguing sculptures and relief fragments from Pawāyā and Ahichhatrā are the subject of the second half of the thesis. Some of the reliefs - especially those hailing from ACI - are of great importance since they represent some of the earliest visual depictions of myths contained in the Mahābhārata and other religious texts. These reliefs and sculptures are explored within the broader context of Gupta iconography, with particular attention paid to the numerous and fascinating terracotta reliefs of the era, most of which are divorced from their original settings. Moreover, based on style and scale, some of panels evidently share the same origin and these are collated here. In addition, new interpretations are proposed for several of the plaques.

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Liang, Haiyin. "Through My Window." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5505.

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I convey my thoughts through art jewelry; making jewelry is my language of communication and commemoration. Inspired by historical Chinese art and contemporary jewelry, my practice pays attention to bring classical Chinese aesthetics of hazy poetic and ideal arrangement into the contemporary jewelry field. The attention to detail refers to the quiet contemplation and emotional experiences encouraged by each of my works. Through my research, I use metalsmithing language to communicate with non-precious materials finding my own way of expression and meditation. Meanwhile, I build environments that display jewelry off the body in order to construct a picturesque landscape. The research that lead to my thesis work, Through My Windows, which conveys the desire for mental escape. The Jewelry pieces become the keys to open the imagination and emotionally escape into an ideal state through making and viewing them.

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Hall, Kenneth Estes. "Entries (5) for Directory of World Cinema: China 2." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/453.

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Book Summary: Commended for their social relevance and artistic value, Chinese films remain at the forefront of international cinema, bolstered in recent years by a new generation of talented young filmmakers. Directory of World Cinema: China presents an accessible overview of the definitive films of Hong Kong and mainland China, with particular attention to the achievements of prolific industry figures, the burgeoning independent sector, and the embrace of avant-garde practices of art cinema. Spanning a variety of characteristic genres, including horror, heroic bloodshed, romantic comedy, and kung-fu, reviews cover individual titles in considerable depth and are accompanied by a selection of full-color film stills. A comprehensive filmography and a bibliography of recommended reading complete this essential companion to Chinese cinema.

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Choi, Hyejeong. "Mireuksa, A Baekje Period Temple of the Future Buddha Maitreya." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431044236.

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Beitmen, Logan R. "Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1198.

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Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.

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Hall, Kenneth Estes. "Entries (4) on Filmmaker John Woo and Three of His Films." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/452.

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Book Summary: Commended for their social relevance and artistic value, Chinese films remain at the forefront of international cinema, bolstered in recent years by a new generation of talented young filmmakers. Directory of World Cinema: China presents an accessible overview of the definitive films of Hong Kong and mainland China, with particular attention to the achievements of prolific industry figures, the burgeoning independent sector, and the embrace of avant-garde practices of art cinema. Spanning a variety of characteristic genres, including horror, heroic bloodshed, romantic comedy, and kung-fu, reviews cover individual titles in considerable depth and are accompanied by a selection of full-color film stills. A comprehensive filmography and a bibliography of recommended reading complete this essential companion to Chinese cinema.

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Heitz, Kaily A. "Making the Desert Bloom: Landscape Photography and Identity in the Owens Valley American West." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pitzer_theses/50.

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This thesis analyzes the way in which landscape photography has historically been used as a colonialist tool to perpetuate narratives of control over the American West during the mid to late 1800s. I use this framework to interrogate how these visual narratives enforced ideas about American identity and whiteness relative to power over the landscape, indigenous people and the Japanese-Americans imprisoned at Manzanar within Owens Valley, California. I argue that because photographic representation is controlled by colonist powers, images of people within the American West reinforce imperialist rhetoric that positions whiteness in control of the land; thus, white settlers used this narrative to justify their stagnating agricultural development in the Owens Valley, Native Americans were documented as a part of the landscape to be controlled, and the internees at Manzanar were portrayed such that Japanese culture was obscured in favor of assimilationist, Americanizing tropes of their status as new pioneers on the American Frontier.

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Hao, Shilun. "IDS---Intelligent Dougong System: A Knowledge-based and Graphical Simulation of Construction Processes of China’s Song-style Dougong System." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1417702752.

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Haws, Catherine Bourg. "Remembering Vietnam War Veterans: Interpreting History Through New Orleans Monuments and Memorials." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2081.

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ABSTRACT This thesis is concerned with the question of how America’s citizen soldiers are remembered and how their services can be interpreted through monuments and memorials. The paper discusses the concept of memory and the functions of memorialization. It explores whether and how monuments and memorials portray the difficulties, hardships, horror, costs, and consequences of armed combat. The political motivations behind the design, formation and establishment of the edifices are also probed. The paper considers the Vietnam War monuments and memorials erected by Americans and Vietnam expatriates in New Orleans, Louisiana, and examines their illustrative and educational usefulness. Results reflect that although political benefits accrued from the realization of the memorial structures in question, far more important, palliative and meaningful motives brought about their construction. They also demonstrate that, when understood, monuments and memorials can be historically useful.

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Wain, Alexander David Robert. "Chinese Muslims and the conversion of the Nusantara to Islam." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:53a48196-ac0e-4510-b74d-794c48e976ed.

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This thesis is a comprehensive re-examination of Maritime Southeast Asia's (or the Nusantara's) Islamic conversion history between the late thirteenth and early seventeenth centuries. Traditionally, academia has attributed this event to Muslim traders and/or Sufis from either India and/or the Middle East. During the late twentieth century, however, a number of scholars began to consider the possibility of Chinese Muslim involvement. The resulting discussions focused on a re-evaluation of Javanese history in the context of attempts to re-conceptualise pre-modern Nusantara trade (considered the catalyst for Islamisation) as fundamentally orientated towards Southern China, where Muslims played a significant commercial role from the seventh through to the early fifteenth centuries. Despite the intrinsic merits of these efforts, however, they have all been limited by an overwhelming focus on Java and a tendency to examine the relevant issues over only a very narrow time span. This thesis seeks to rectify these problems. First, it will evaluate the validity of the new commercial framework over a much longer period – from the rise of Śrīvijaya in the seventh century CE to the establishment of the early seventeenth-century European trade monopolies. This longue dureé view will provide a much stronger basis for both conclusively re-orientating pre-modern Nusantaran trade towards China and also positing it as the catalyst for conversion, with Chinese Muslims at its heart. Second, the thesis will look beyond Java to examine the conversion histories of several other important Nusantara locations (Samudera-Pasai, Melaka and Brunei), as accessed through early written texts (indigenous, European and Chinese) and archaeology. The thesis then, and thirdly, couples this examination with a consideration of the Islamic influences which came to bear on the Nusantara’s early intellectual and architectural expressions of Islam. Ultimately, by taking this broad chronological, geographical and cultural approach, the thesis aims to more reliably assess the possibility that Chinese Muslims influenced the Nusantara’s initial Islamisation process.

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Rehman, Sadia. "This is My Family: An Erasure." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492399220029598.

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Baird, David A. "Architecture and art /." Online version of thesis, 1990. http://hdl.handle.net/1850/11313.

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Chen, Xin. "Miniature buildings in the Liao (907-1125) and the Northern Song (960-1127) periods." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:3b8fc1ba-dbfc-47cc-9584-03ff1b3d51e7.

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This thesis is concerned with the construction and uses of miniature buildings in the Liao (907-1125) and the Northern Song (960-1127) periods in China. These miniature buildings exploited the components of Chinese traditional architecture on a small or greatly reduced scale. To date no work has taken the position of this thesis to examine this corpus of miniature buildings that were used widely in tombs and temples as containers to provide coverings for coffins, and to hold images of deities, Buddhist relics and sutras, as seen in both archaeological discoveries and textual resources. The purpose of the thesis is to define this corpus and to consider its significance in the light of the functions that these tiny buildings fulfilled. This thesis proposes that these miniature buildings contributed a unique and indispensable part in presenting the positions of their owners in society. Made as containers, miniature buildings particularly emphasize decoration, which enabled viewers to make a connection with life-size buildings, in the ways of which they were fitted into an existing architectural hierarchied system in the deeply rooted tradition of the Liao and the Northern Song. The thesis makes considerable use of the concepts of reception, for the reaction of viewers to these miniature buildings defined also their reactions to the contents. Several types of analogies were achieved between full-scale buildings and miniature representations, as well as between their contents, which allowed specific types of interpretation of the miniature buildings as taking the roles of actual buildings and fictional structures. The thesis considers the use of miniature buildings as one of the ways in which complex ideas can be reinforced by material forms. A wider discussion on miniature models presents that the significance of miniaturization lies in the power of control that can be achieved by creating and using the miniature.

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Conocimiento, Dirección de Gestión del. "Art & Architecture Source." Ebsco, 2004. http://hdl.handle.net/10757/655262.

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Sledge, David C. (David Christopher) 1968. "The art of ambiguity : (experiencing the Kimbell Art Museum)." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/70346.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.
Page 135 blank.
Includes bibliographical references (p. 131-133).
This thesis examines the Kimbell Art Museum in Fort Worth, Texas, designed and executed between 1966 and 1972 by the architect Louis I. Kahn. This study responds to a series of design related questions raised in the author's mind upon visiting the Kimbell museum on June 22, 2000. The work will evaluate the buildings' major design elements, beginning with the overall site and building organization, and end with the relationship between structure, space and natural light. The building is documented with numerous photographs taken during my visit to illustrate its experiential aspects. This study examines how the Kimbell Art Museum prompts 'readings and re-readings,' associations, symbolisms, and meanings that may initially appear elusive, contradictory or even obscure. My analysis suggests that Louis Kahn designed the Kimbell to generate obscure readings, or to be more precise, he utilized ambiguous design features capable of being understood in two or more possible senses. My analysis also raises questions such as, 'What types of ambiguity are employed in this museum, and why?', and 'How does the Kimbell Art Museum as both building and experience compare to Kahn's stated design goals?' The lens through which this examination takes place is my own experience of the building, tempered by an examination of the building's documentation compared to what Kahn wrote, sketched and built. This project aims to offer plausible insights into the building'S numerous, seemingly ambiguous design features. The process of reading and re-reading the Kimbell reveals elusive aspects of the building that to date, have not been adequately considered and articulated. The object of this study is twofold: first, enhance understanding and appreciation of Louis 1.
David C. Sledge.
S.M.

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Matsumoto, Toyoko. "The convergence of Western and Chinese traditions in the New Guohua painting of China: The impact of study abroad in Japan /." Ann Arbor, Mich. : ProQuest LLC, 2009. http://proquest.umi.com/pqdweb?did=1937733941&sid=1&Fmt=2&clientId=23658&RQT=309&VName=PQD.

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von, Wiedersperg Carolina Sophie. "Kyoto art in nature habitat /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/von_wiedersperg/von_WiederspergC0509.pdf.

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The purpose of this thesis is to find architectural solutions which apply the theoretical findings centered around the biophilia hypothesis. The principles resulting from this investigation should help architecture to soften the separated conditions of the natural and the man-made environment. The application of these principles will then result in the design development of an Art in Nature Habitat in Kyoto, Japan.

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Koh, Hunmin. "Shape analysis for digital representation of East Asian silk patterns." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118513.

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Thesis: S.M. in Architecture Studies, Massachusetts Institute of Technology, Department of Architecture, 2018.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 58-61).
This thesis examines the East Asian geometric silk pattern. Despite its long history of use in traditional architecture as an ornamental element in Korea and China, a little attempt was made to understand its geometric construction. Also, the connection between the silk patterns in two countries are often neglected because of the lack of systematic archiving. I first present the currently existing examples of silk patterns in Korea and China. Through a comparative analysis, I identify that the pattern is a shared heritage of the region and proses that more holistic approach is required to understand its relation with geometric patterns from other cultures. One of the approach is symmetry analysis, a method used in archeology to identify relevance in material culture between two adjacent cultural groups. Subsequently, I present shape analysis of existing sixfold symmetry silk patterns and argue that the stacking order of basic motifs plays an important role in design of the majority of silk patterns. I devised a symbolic notation system to identify different stacking order between different designs. Based on the analysis, I introduce an automated pattern generator which creates patterns with a specific symmetry in batches. The produced images can be used to train a symmetry classifier based on a machine learning model. I discuss possible implementations of the pattern generator and the symmetry classifier model and outline future development and challenges.
by Hunmin Koh.
S.M. in Architecture Studies

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Xue, Grace H. "Space Between: Asian-American Women Identity, Culture and Contemporary Art." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/765.

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An exploration and analysis on the connections between identity, culture and contemporary art. A number of critical race theories are examined as possible constructions of Asian-American women identities. This paper seeks to understand how Asian-American women reconcile with these strivings and limitations and how they maintain their native racial identities despite their conflicting desire to conform to the mainstream culture. This paper also examines two contemporary women artists who promote a dialogue regarding transcultural identities.

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Baldridge, Seth Robert. "Gold powder and gunpowder| The appropriation of western firearms into Japan through high culture." Thesis, The University of Utah, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10006268.

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When an object is introduced to a new culture for the first time, how does it transition from the status of a foreign import to a fully integrated object of that culture? Does it ever truly reach this status, or are its foreign origins a part of its identity that are impossible to overlook? What role could the arts of that culture play in adapting a foreign object into part of the culture? I propose to address these questions in specific regard to early modern Japan (1550–1850) through a black lacquered ōtsuzumi drum decorated with a gold powder motif of intersecting arquebuses and powder horns. While it may seem unlikely that a single piece of lacquerware can comment on the larger issues of cultural accommodation and appropriation, careful analysis reveals the way in which adopted firearms, introduced by Portuguese sailors in 1543, shed light on this issue.

While the arquebus’s militaristic and economic influence on Japan has been firmly established, this thesis investigates how the Kobe Museum’s ōtsuzumi is a manifestation of the change that firearms underwent from European imports of pure military value to Japanese items of not just military, but also artistic worth. It resulted from an intermingling of Japanese-Portuguese trade, aesthetics of the noble military class, and cultural accommodation between Europeans and Japanese that complicates our understandings of influence and appropriation. To analyze this process of appropriation and accommodation, the first section begins with a historical overview of lacquer in Japan, focusing on the Momoyama period, and the introduction of firearms. The second section will go into the aesthetics of lacquerware, including the importance of narrative symbolism and use in the performing arts with a particular emphasis on the aural and visual aesthetics of the drum. Finally, I will discuss this drum in the global contexts of the early modern era, which takes into account the tension between the decline in popularity of firearms as well as the survival of the drum. Pieced together, these various aspects will help to construct a better understanding of this unique piece’s place in the Japanese Christian material culture of early modern Japan.

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Hartman, Laurel. "The shojo within the work of Aida Makoto| Japanese identity since the 1980s." Thesis, San Jose State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10169581.

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The work of Japanese contemporary artist Aida Makoto (1965-) has been shown internationally in major art institutions, yet there is little English-language art historical scholarship on him. While a contemporary of internationally-acclaimed Japanese artists Murakami Takashi and Nara Yoshitomo, Aida has neither gained their level of international recognition or respect. To date, Aida?s work has been consistently labeled as otaku or subcultural art, and this label fosters exotic and juvenile notions about the artist?s heavy engagement with Japanese animation, film and manga (Japanese comic book) culture. In addition to this critical devaluation, Aida?s explicit and deliberately shocking compositions seemingly serve to further disqualify him from scholarly consideration. This thesis will argue that Aida Makoto is instead a serious and socially responsible artist. Aida graduated with a Masters of Fine Arts from Tokyo University of Fine Arts and Music in 1991 and came of age as an artist in the late 1980s during the start of Japan?s economic recession. Since then Aida has tirelessly created artwork embodying an ever-changing contemporary Japanese identity. Much of his twenty-three-year oeuvre explores the culturally significant social sign of the shojo or pre-pubescent Japanese schoolgirl. This thesis will discuss these compositions as Aida?s deliberate and exacting social critiques of Japan?s first and second ?lost decades,? which began in 1991 and continue into the present.

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Kotze, Willem Riaan. "Art Workshop : contextual architecture in light." Diss., Pretoria : [S.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11272008-000720.

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Rabe, Justin. "Art to Architecture: Translating Sol LeWitt." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1226377750.

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Thesis (Master of Architecture)--University of Cincinnati, 2008.
Advisor: Vincent Sansalone. Title from electronic thesis title page (viewed Feb. 5, 2009). Includes abstract. Keywords: LeWitt; conceptual; architecture; series. Includes bibliographical references.

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Barry, Marie Porterfield. "Lesson 06: Divine Architecture." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/7.

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Ye, Runzhou S. M. Massachusetts Institute of Technology. "Augmentation as art intervention : the new means of art intervention through mixed reality." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123562.

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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2019
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 73-76).
This thesis explores an emerging art form--mixed reality art the new opportunities, changes, and challenges it brings to art intervention. Currently mixed reality art is in its early stage of development, and there is relatively little scholarship about this subject. However, I believe augmentation as a new art form has great potential in the art field and this thesis aims to address this gap. I argue that augmentation can be used as a new means for art intervention, and that it can bring new opportunities for artists not only to augment the use of sites, but also to create a better cultural and emotional experience for the viewer. With in the scope of mixed reality art, this thesis discusses augmentation of senses, sites, and data; this includes not only the exploration of this medium through a series of my recent artworks, but also includes experiment s of other mixed reality art pioneers. I believe that my art will not only inspire my future creation, but also shed more light on this new art form.
by Runzhou Ye.
S.M. in Art, Culture and Technology
S.M.inArt,CultureandTechnology Massachusetts Institute of Technology, Department of Architecture

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Tran, Ha-Vi T. "Individual Exploration: redefining learning about Asian heritage." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212121904.

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CABALFIN, EDSON ROY GREGORIO. "ART DECO FILIPINO: POWER, POLITICS AND IDEOLOGY IN PHILIPPINE ART DECO ARCHITECTURES (1928-1941)." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054760324.

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KRAKOVICH, LINA M. "Art · Culture · Experience:." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212147757.

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Yuen, Jessica Michelle. "Metamorphosis Journey: Voices of Asian Domestic Violence Survivors Through Art Exploration." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/77.

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Using a qualitative, narrative based, and art based approach, this study explored the experiences of Asian domestic violence survivors living in an Asian-based domestic violence transitional shelter, and how their cultural identity as an Asian immigrant woman played a role in their experiences. The participants were two out of six women living at the domestic violence shelter provided by the Asian Pacific Women’s Center. Three overarching themes were formed after the analysis of all the emergent categories: The women experienced isolation that were influenced from their marginalized cultural values, the shelter was viewed as a foundation for growth, and the art was useful as a means for communication.

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Alice, Berglund. "Art for/by Youth." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135774.

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Valente, Liz Fagundes Oliveira. "Space and art – interrelations between architecture and contemporary art at Inhotim." Universidade Federal de Viçosa, 2016. http://www.locus.ufv.br/handle/123456789/8449.

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Submitted by Reginaldo Soares de Freitas (reginaldo.freitas@ufv.br) on 2016-09-02T13:13:13Z No. of bitstreams: 1 texto completo.pdf: 3929198 bytes, checksum: 97d1e9f437e559874e88219c5ebee761 (MD5)
Made available in DSpace on 2016-09-02T13:13:13Z (GMT). No. of bitstreams: 1 texto completo.pdf: 3929198 bytes, checksum: 97d1e9f437e559874e88219c5ebee761 (MD5) Previous issue date: 2016-04-18
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação é o resultado de uma pesquisa fenomenológica, onde o objeto de pesquisa são as inter-relações entre a arquitetura e as expressões artísticas contemporâneas em Inhotim. A teoria da fenomenologia entende que a experiência sensorial do espaço é também uma função singular da arquitetura. Em arquitetura ela é demonstrada pela manipulação de elementos materiais e imateriais do espaço, a fim de produzir um impacto nos sentidos humanos. Desde a consolidação da arte contemporânea, particularmente da arte pós- objeto2 como arte ambiental, site-specific, new media, instalações e outras que promovem experiências sensoriais, tem se fortalecido a necessidade preservação das relações entre a obra e seu lugar. Mudanças no caráter essencial da arte, como a arte é, tem interferido no formato coerente dos espaços para arte. Portanto, por meio do estudo de caso do Inhotim, a questão central que direciona esta dissertação é como as mudanças nos paradigmas nas artes trouxeram novas conformações arquitetônicas que melhor acomodam a arte contemporânea. Este trabalho é organizado em três escalas de análise dessa inter-relação: (1) a escala do “fato” artístico em relação ao espaço; (2) a escala da galeria em relação ao fato artístico; e, (3) a escala de todo espaço físico do museu, analisando Inhotim como um todo, lendo sua forma que é orientada por percursos, suas paisagens construídas e seu conjunto arquitetônico. O termo “pós-objeto” foi extraido do CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, p. 181–189, Abril de 2011.
This thesis is the result of a phenomenological research study, where the object of the research is the interrelations between architecture and contemporary artistic expressions at Inhotim. The theory of phenomenology acknowledges that the sensory experience of space is also unique function of space. In architecture it is demonstrated through the manipulation of material and immaterial elements of space in order to produce an impact on the human senses. Since the consolidation of contemporary art, particularly post-object1 art such as environment, site-specific, new media, installations and others that convey sensorial experiences, the need to preserve the relationship between the work and its place has strengthened. Changes in what/how art is have interfered in how art spaces are. Therefore, through the case of the Inhotim, the central matter that this thesis seeks to address is how the changes of paradigms in the arts brought about new architectural conformations that better accommodate contemporary art. This work is organized in three scales of analysis of this interrelation: (1) the scale of the artistic fact in relation to space; (2) the scale of the gallery in relation to the artistic fact; and, (3) the scale of the whole physical space of the museum, approaching Inhotim as whole, reading into its path- oriented form, its created landscapes and architectural set. The term “post-object” was extracted from CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, pages 181–189, April 2011.
O autor não apresentou título em português.

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Phillips, Jessica. "The art of perception." This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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Adams, Christa. "Bringing "Culture" to Cleveland: East Asian Art, Sympathetic Appropriation, and the Cleveland Museum of Art, 1914-1930." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1447097382.

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Capezzuto, Joseph F. Jr. "Persistence of vision| Hamaya Hiroshi's Yukiguni and Kuwabara Kineo's Tokyo Showa 11-nen in the transwar era." California State University, Long Beach, 2013.

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PALCZYNSKI, MATTHEW JOSEPH. "ROTHKO AND ARCHITECTURE." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/213124.

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Art History
Ph.D.
The overall goal of this dissertation is to identify and examine the neglected aspects of the literature on Mark Rothko's 1958-1959 project to make murals for the Four Seasons restaurant (see Figs. 1-12) in the then-newly opened Seagram Building in Manhattan. These include Rothko's attempts to merge the mediums of painting and architecture in order to create an antagonistic environment in the restaurant; how his visits to Italy before and during the project reinforced this goal; how a good deal of the figurative paintings from Rothko's earliest career anticipated his blend of aggression and architecturally-related themes; the connection between Rothko and Mies van der Rohe, the architect of the building, in regard to the theme of transcendence; and how his experiments with architectural subjects and motifs aligned Rothko with some of the most influential vanguard artists in New York in the late 1950s and early 1960s. Discussions of these topics will suggest that his career-long references to architecture functioned, for him, as something intended to produce discomfort in the viewer. I will show that his acceptance of a lucrative commission to make paintings for a lavish restaurant that might seem at first to suggest pandering to an élite audience had the paradoxical effect of condemning that audience. I intend also to demonstrate that Rothko understood that the project was not merely about making paintings. Instead, for him, it dealt more with the challenge of uniting architecture and painting.
Temple University--Theses

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Cheng, Christina Miu Bing. "Postmodernism art and architecture in Hong Kong /." Click to view the E-thesis via HKUTO, 1991. http://sunzi.lib.hku.hk/hkuto/record/B31949861.

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Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.

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Jakeman, Jane. "Abstract art and communication in 'Mamluk' architecture." Thesis, University of Oxford, 1993. http://ora.ox.ac.uk/objects/uuid:83f44ba8-2ba6-4ff1-8732-9e78d65ad5c5.

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Fourteenth-century Cairo saw a movement towards abstract, geometric art. This movement reflected contemporary intellectual interests and represents the culmination of the ascendancy of Islamic philosophy over the humanist vocabulary of art. The thesis seeks explanations for the positive, i.e. for the forms which art actually took, rather than concentrating on prohibitive mechanisms. In architecture, the disappearance of stucco vegetal decoration may have been partly due to the effects of an outbreak of plague, but the main influences on contemporary art and architecture came from the esoteric habits of thought induced by sufism, alchemy and hermeticism, and from the dualist concerns of Islamic philosophy. The thesis discusses the continuity between sufism and Shī'ism, the history of sufism in Cairo as it affected art and architecture, concepts of the microcosm and the macrocosm, and theories of colour, substance and gilding. The thesis examines talismans and other esoteric material. It discusses architectural incorporata, presents a catalogue of Pharaonic material re-used in Islamic architecture, and argues that blocks bearing Pharaonic hieroglyphs represented Hermetic lore and, at entrances to buildings, paralleled the use of Pharaonic references at the beginning of esoteric manuscripts. The detailed discussion of architecture takes the form of an examination of a religious building, scrutinising the underlying principles of decoration and then moving on to specific elements such as the entrance and the mihrab. The thesis discusses, and dissents from, iconographic interpretations of architectural imagery. It attempts to evolve a terminology for discussion and concludes that 'mamluk' is inappropriate as a cultural term, since the influence of the individual patron on art and architecture was less innovative than the intellectual background of the period, and the dissociation of the patron from contemporary society has been over-estimated. It comes to the conclusion that 'an art of the bāṭin' would more effectively express the major influence on the art and architecture of fourteenthcentury Cairo.

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Dissertations / Theses on the topic 'Asian Art and Architecture'

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