Academic literature on the topic 'Japanese art history][Zen art'

Purpose – Recent discussions of value-in-use from the perspective of service dominant logic have focused on the customer’s determination of value and control of the value creation process. The purpose of this paper is to extend these discussions by exploring the value creation process in the Japanese tea ceremony and in the kaiseki ryori style of Japanese cuisine, which is based on the Japanese tea ceremony. Design/methodology/approach – A historical analysis is used to describe the history of the Japanese tea ceremony in Japan and its influence on Japanese culture. key principles underlying the Japanese tea ceremony and their relationship to Zen Buddhism are summarized and the ways in which these principles are reflected in the service provided by Japanese restaurants are explored. Findings – The two elite restaurants examined in this analysis have designed their service experience to reflect four principles of the tea ceremony: the expression of seasonal feelings, the use of everyday items, ritualized social interactions, and the equality of host and guest. Given these principles, we argue that the tea ceremony and restaurants based on this ceremony imply a co-creation process that is different in three important ways from the process discussed in the co-creation literature. First, the tea ceremony involves dual experiential-value-creation processes. Both the master and the customer experience value-in-use during the delivery of kaiseki cuisine, and the value-in-use each receives is critically dependent on that received by the other. Second, the degree to which value-in-use is created for both parties (the customer and the master) depends on the master’s customization of the service experience based on his knowledge of the customer and that customer’s with the tea ceremony, kaiseki ryori cuisine and Japanese culture. Research limitations/implications – We hypothesize that the dual experiential-value-creation model is potentially relevant whenever the service process contains an element of artistic creation. Potential examples include concerts, recitals, theatre performances and art exhibitions, as well as more mundane situations in which the service provider derives value-in-use from aesthetic appreciations of the service provider’s art. Originality/value – Recent discussions of value co-creation argue that the customer controls the value creation process and the determination of value. The authors argue that the tea ceremony can serve as a metaphor for value co-creation in service contexts where the customer’s value creation process depends on the creation of value-in-use by the service provider.

Abstract This paper explores widely held misconceptions about the publishing of East Asian religious books, bibliographies and canons connected to a tradition that appears to foreswear books altogether – Zen Buddhism in China and Japan. Zen and East Asian Buddhist librarianship are also considered here in terms of a rich history of book collecting, printing, and distributing in China and in Europe.

This thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cuteness in Japanese culture. Including key secondary material, which recognises cuteness as not merely something trivial but involving power play and gender role issues, this thesis undertakes an interdisciplinary analysis of cuteness in contemporary Japanese popular culture, and examines howcontemporary Japanese artists have responded, providing original research through interviews with Aida Makoto, Mori Mariko and Murakami Takashi. Themes examined include the deconstruction of the high and low in contemporary art; sh6jo (girl) culture and cuteness; the relation of cuteness and the erotic; the transformation of cuteness into the grotesque; cuteness and nostalgia; and virtual cuteness in Japanese science fiction animation, and computer games.

The goal of this dissertation is to write the theory of organic architecture which Wright himself did not write. This is done through a comparison with GWF Hegel’s philosophy of art to help position Wright’s theory of organic architecture and clarify his architectural aesthetic. Contemporary theories of organicism do not address the aesthetic basis of organic architecture as theorized and practiced by Wright, and the focus of this dissertation will be to fill part of this gap. Wright’s organic theory was rooted in nineteenth-century Idealist philosophy where the aim of art is not the imitation of nature but the creation of beautiful objects which invite contemplation and express freedom. Wright perceived this quality in Japanese art and wove it into his organic theory.

This project is organized into three main categories from which Wright’s own works and writings of organic architecture are framed, two of which are affinities of his views and one which, by its contrast, provides additional definition. The second chapter, Foundation, lays the philosophical or metaphysical foundation and is a comparison of Hegel’s philosophy of art, including his Romantic stage of architecture, with Wright’s own theory. The third chapter, Formalism, relates the affinity between Japanese art and Wright’s own designs. Three case studies are here included, showing their correlation. The fourth chapter, Filter, contrasts early twentieth-century Modernist architecture with Wright’s own organicism. This provides a greater definition to Wright’s organicism as it takes clues from Wright’s own sense of discrimination between the contemporary modernism he saw and his own architecture. These three chapters lead to the proposal of a model theory of organic architecture in chapter five which is a structured theory of organic architecture with both historical and contemporary merit. This serves to provide a greater understanding of Wright’s form of the organic as an aesthetically based system, both in historic context, and as relevant for contemporary discourse.

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.

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.

Thesis (M.A.)--University of Cincinnati, 2008.
Advisor: Mikiko Hirayama. Title from electronic thesis title page (viewed Feb. 22, 2010). Includes abstract. Keywords: Tattooing; horimono; Japanese tattoos; American tattoos. Includes bibliographical references.

This dissertation investigates how Japanese expositions held from the 1890s to the 1940s, both abroad and at home, represented Japan itself as a 'guardian of Asian culture' while promoting the expansion of its empire. Japan's governing stance over other Asian nations at expositions during the prewar period appeared to imitate the imperial exhibitions of its Western counterparts, and yet the Japanese engagement of Asia in these exhibitions was portrayed as "almost the same, but not quite" the same empire. This study thus proposes to interpret Japan's exhibitionary practices toward other Asian nations as "mimicry," borrowing Homi K. Bhabha's conception, in order to challenge the totalizing vision of the West that was commonplace at exposition sites. I argue that the preoccupation with exhibitionary techniques provided Japan with a cultural, aesthetic, and ethnic claim over other Asian nations in terms of time and space. Further to this point, I argue that the importance of the visual technologies used by Japan in their expositions – technologies that were mimicked from Western empires – lies in their spatialization of time and temporal re-organization. This study thus aims to investigate the processes whereby Japanese expositions re-contextualized the aesthetic, cultural, and racial and ethnic identities of other Asian nations in terms of time and space.This dissertation investigates multiple sites of Japan's expositions, as well as numerous major figures who were involved in these exhibition practices. Chapter 2 concerns three (pre-)exhibitionary sites where Japanese traditional art and its art history were reorganized by modern art programmers such as Okakura Tenshin and Ernest Fenollosa: national treasure survey sites, the National Pavilion at the 1893 Chicago Exposition and the Official Catalogue for the 1900 Paris Exposition Universelle (Histoire de l'Art du Japon). More specifically, I argue that these three exhibitionary sites were specific instances where Japanese traditional art and Asian art became "de-territorialized and re-territorialized" through the techniques of preservation, presentation and cataloguing. Chapter 3 examines the Japanese pavilion at the 1910 Japan-British Exhibition in terms of the visual technique of panoramas. The Japanese pavilion in this show self-adjusted to the panorama technique using a Western perspective, wherein Britain emerged as the temporal norm to be emulated in the logic of imperialism while Japan was relatively viewed as a "different" empire. Yet Japan, by mimicking the temporal logic of the Western empire, re-enacted its own temporal operations toward other Asian nations. Chapter 4 explores the ways in which anthropological exhibitions rearticulated the racial and ethnic identities of Asian nations under the name of a multi-ethnic empire. The Tokyo Anthropological Association and its leader, Tsuboi Shōgorō, made extensive use of visual technologies, like Western anthropologists, such as composite photography and anthropological expositions, and I thus investigate how they attempted to redefine racial and ethnic identities by way of these modern visual technologies. Chapter 5 considers the climax of Pan-Asianist expansion at the 1940 Chosŏn Great Exposition, held in Seoul, in the middle of Asia-Pacific War. This chapter examines how the visual practice of panoramas incorporated people of different ethnic and cultural backgrounds under the inclusive umbrella of a multi-cultural East Asian empire, to encourage their participation in the war. I further contend that the performance of these panoramic imageries displayed both the inclusiveness and yet the simultaneous contradictions of multi-cultural empires.
Cette thèse explore comment les expositions japonaises de type universel, tenues entre les années 1890 et 1940, au pays comme à l'étranger, représentaient le Japon lui-même comme étant « gardiennes de la culture asiatique » alors qu'elles promouvaient du même coup l'expansion de l'empire japonais. Le point de vue japonais sur les autres nations asiatiques lors de ces expositions impériales d'avant-guerre semblait imiter celui de ses homologues occidentaux, à la nuance près, qu'il a été dépeignait comme étant « semblables, mais pas tout à fait pareilles » à son empire. Cette étude propose en ce sens d'interpréter les pratiques japonaises d'exposition en ce qui concerne les autres nations asiatiques, selon l'angle du « mimétisme » – pour emprunter le terme à Homi K. Bhabha. Cela m'amène à postuler que c'est précisément cet intérêt hâtif pour ces techniques qui a permis au Japon de prétendre avoir une mainmise culturelle, esthétique et éthique sur les autres nations asiatiques. J'avance dans cette veine que l'importance des technologies visuelles utilisées par le Japon au sein de ces expositions reposait sur leur déploiement et leur réorganisation spatiotemporels. Mon étude souhaite, en ce sens, investiguer les processus à travers lesquels les expositions japonaises décontextualisaient et recadraient les identités esthétiques, culturelles, raciales et ethniques des autres nations asiatiques en lien avec l'espace et le temps.Cette thèse se penche sur plusieurs expositions menées par le Japon et s'intéresse à l'implication de différentes personnalités influentes en ce qui concerne les pratiques d'exposition. Chapitre 2 s'intéresse à trois cas de figure où l'art japonais traditionnel et son histoire furent revisités par des commissaires d'art moderne comme Okakura Tenshin et Ernest Fenollosa, notamment avec les études menées sur l'héritage national du Japon, avec le Pavillon national japonais de l'exposition lors de Chicago de 1893 et avec le catalogue officiel de l'exposition universelle de Paris de 1900 (Histoire de l'art du Japon). Plus précisément, je postule que ces trois cas ont été des moments où l'art japonais traditionnel et l'art asiatique furent « déterritorialisé et reterritorialisé » à travers des techniques de préservation, de présentation et de catalogage. Chapitre 3 se penche le pavillon du Japon lors de l'exposition Japon-Grande-Bretagne de 1910 en ce qui a trait à la technique visuelle du panorama. Lors de cette exposition, le pavillon japonais s'est inspiré de la technique occidentale du panorama, alors que la Grande-Bretagne, avec sa perspective impériale, semblait être l'exemple à suivre. En « imitant » de la sorte la logique temporelle de l'Empire britannique, le Japon recréait les mêmes types d'opérations temporelles par rapport aux autres nations asiatiques. Chapitre 4 explore comment les expositions anthropologiques réarticulaient les identités raciales et ethniques des autres nations asiatiques au nom d'un empire multiethnique. L'Association anthropologique de Tokyo, sous l'influence de son directeur Tsuboi Shōgorō, a fait un usage important des techniques visuelles telles que les photographies composites et les expositions anthropologiques, je m'intéresse à cet égard sur la manière dont l'usage de techniques modernes de visualisation a tenté de redéfinir les identités raciales et ethniques des autres nations asiatiques. Chapitre 5 traite de l'apogée du panasianism lors de la Grande exposition Chosŏn qui s'est tenue à Séoul au milieu de la guerre en Asie et dans le Pacifique. Ce chapitre examine comment la pratique visuelle du panorama, en incorporant des personnes de différentes ethnies et cultures sous l'étiquette multiculturelle de l'empire de l'Asie de l'est, tentait d'encourager leur participation à la guerre. J'affirme à cet effet que le déploiement de ces représentations panoramiques affichait une forme d'inclusion des empires multiculturels qui comportait néanmoins diverses contradictions.