Dissertations / Theses: 'Japanese art history][Zen art'

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SPENCER, ELIZABETH. "THE SPIRIT OF COMPOSITE CONSTRUCTION: JAPANESE KESAAT THE CINCINNATI ART MUSEUM." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179328843.

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Sutcliffe, Paul J. C. "Contemporary art in Japan and cuteness in Japanese popular culture." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/5642/.

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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.

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Davis, Walter B. "Wang Yiting and the Art of Sino-Japanese Exchange." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213111969.

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Dahlin, Kenneth C. "The Aesthetics of Frank Lloyd Wright's Organic Architecture| Hegel, Japanese Art, and Modernism." Thesis, The University of Wisconsin - Milwaukee, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13422325.

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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.

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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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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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Lai, Kin-keung Edwin, and 黎健強. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hdl.handle.net/10722/210323.

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Copelin, Kirby Elizabeth. "The Art of Tattooing: A Comparative Analysis of Japanese and American Tattoos." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212138036.

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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.

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Kang, Inhye. "World display, imperial time: the temporal and visual articulation of empire in Japanese exhibitions (1890-1945)." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110464.

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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.

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KAISER, ANDREW. "CONSTRUCTING MODERNITY: JAPANESE GRAPHIC DESIGN FROM 1900 TO 1930." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147717044.

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Carvalho, Guida Maria Gomes. "16th century images of Japanese garden art: analysis of the jesuit's texts published in Portugal." Master's thesis, ISA/UL, 2018. http://hdl.handle.net/10400.5/17814.

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Mestrado em Arquitetura Paisagista - Instituto Superior de Agronomia
The dissertation theme focus on how the Portuguese Jesuit manuscripts describe Japanese gardens for the first time in Europe. This research belongs to a larger project led by Cristina Castel-Branco since 2012 and applied to cities and landscapes that have been described during the 16th century by the Portuguese Jesuits. The first Missionary group arrived in Japan in 1549 led by Saint Francis Xavier (1506-1552). During their stay (1549-1643), they wrote numerous letters to the remaining members of the Company of Jesus and a few books reporting the progression of the Japanese Mission. In these documents they described the country they saw and gave their opinion on the local daily practices. The data obtained for the research project was supplied by paragraphs of texts containing information on Japanese garden, cities and landscapes, found within these texts, which are the most relevant 16th century documents published in Portugal on the subject. The findings of the present work confirms that the Jesuits writings contain significant information on Japanese garden art and make it possible the comparison between the images found and the images of the 16th century Japanese garden produced in Japan. Garden art and theory was analysed to provide a background of how the gardens observed by the Jesuits were and had evolved trough time. The selected passages describe the gardens of the powerful personalities and institutions of the time. Some of these places have survived until the present day, and were visited for the sake of this project. They suggest that the defined programs that label the Japanese gardens of the sixteen century nowadays were more vast and flexible than what is generally acknowledge and may be a contribution for Japanese Garden Art
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Hujar, Brittany A. "Kozo Miyoshi: An Interpretation of Water Through Photography." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1563967017677073.

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Pironti, Elinor Dei Tos. "The interconnection of culture and manufacture in Japanese No theater costume| Conservation of an Edo Period choken." Thesis, Fashion Institute of Technology, SUNY, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10140949.

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The subject of this qualifying paper is an Edo Period Nō theater chōken. Upon receipt, this choken was in very poor condition. There were six types of damage that needed treatment.

First, there was extensive warp breakage along the full length of the shoulders and sleeve bottoms and one area of full loss to the base fabric, exposing wefts. Second, a couched metallic thread was used as an outline to five vase motifs and as patterning for four butterflies. All used ‘urushi,’ better known as Japanese lacquer, for an adhesive binding a metal foil its paper substrate. This couched thread had either loss to the metallic surface, to the combined metallic and lacquer surface, or was hanging, and at times twisted back upon itself. Third, there was a cut and finely woven, metallic coated paper used for some of the leaf and insect wing motifs that was tattered, unaligned, had loss to its metallic surface, and was not secure to the base fabric. Fourth, there were areas of weft breakage exposing warps. Fifth, the six exposed selvages that run the full length of the two sleeves and one body panel all needed to be strengthened. Sixth, there was one 3 by 4 inch area in the lower back of the body panel which had complete fabric loss.

Untreated areas were: areas of warp distortion in the front body panel; a few loose embroidery threads throughout the five floral/vase motifs; and a small amount of loss due to insect infestation.

Research was done and methods developed in order to find treatment techniques for the lacquer based metallic thread, the cut and woven paper motifs, and the extensive warp breakage extending along the shoulders and sleeve bottoms.

Due to the difficulty of finding English equivalents to Japanese textile terminology, I included a Comparative Glossary that I hope will be useful to other researchers in this field.

This project proved to be challenging, but in the end, very rewarding with a new body of knowledge concerning materials used in this type of cultural object.

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Vaughan, Cassandra N. "The Buddhist Worldview of Neon Genesis Evangelion: Positioning Neon Genesis Evangelion in a Japanese Cultural Context." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259592113.

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Ulak, James Thomas. "Fukutomi zoshi: The genesis and transmutations of a medieval Japanese scatological tale." Case Western Reserve University School of Graduate Studies / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=case1057866841.

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Mikasa, Princess Akiko of. "Collecting and displaying 'Japan' in Victorian Britain : the case of the British Museum." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669978.

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Tobin, Amanda. "A Solution to “The Woman Question”: Envisioning the Japanese Woman in the Bijin-ga of Japan's Modern Print Designers." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305769350.

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MCGOWAN, NANCY L. "ASPECTS OF FAIRYLAND: AMERICAN PERCEPTIONS OF THE JAPANESE HOODEN, LADY'S BOUDOIR, AND TEA HOUSES AT THE WORLD'S COLUMBIAN EXPOSITION OF 1893." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179502629.

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Knox, Christa A. "Ukiyo-e, Madame Chrysanthéme and Babel: The Persistent Stereotype of Japanese Women 1885-2007." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212158465.

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Hagen, Lindsay M. "Exemplifying the Modern Spirit: Japanization and Modernization in the Ceramic Art of Miyagawa Kozan (1842-1916), Shirayamadani Kitaro (1865-1948), and Itaya Hazan (1872-1963)." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337717171.

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Yip, Leo Shing Chi. "Reinventing China: cultural adaptation in medieval Japanese Nô Theatre." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1087569643.

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Ogawa, Suharu. "Surrender or Subversion? Contextual and Theoretical Analysis of the Paintings by Japan's Hidden Christians, 1640-1873." Cincinnati, Ohio : University of Cincinnati, 2010. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1267557163.

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Thesis (M.A.)--University of Cincinnati, 2010.
Advisor: Mikiko Hirayama. Title from electronic thesis title page (viewed Apr. 26, 2010). Includes abstract. Keywords: Hybridity; Christianity in Japan; Hidden Christians; Kakure Kirishitan; Okake e; Japanese Christians. Includes bibliographical references.

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Mohlenhoff, Kathryn Anne. "Tracking Fish and Human Response to Abrupt Environmental Change at Tse-whit-zen: A Large Native American Village on the Olympic Peninsula, Washington State." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1052.

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Evidence of large earthquakes occurring along the Pacific Northwest coast is reflected in coastal stratigraphy from Oregon to British Columbia, where there also exists an extensive archaeological record of Native American occupation. Tse-whit-zen, a large Native American village dating between 1824 and 54 cal B.P. located on the Olympic Peninsula of Washington State, was excavated with exceptionally fine stratigraphic control allowing for precise comparison of natural and cultural records. Here I report on the >10,000 fish remains from one 2x2 m excavation block; this assemblage spans one earthquake event, allowing study of changes in relative taxonomic abundance through time that may coincide with earthquakes or other environmental changes. Results indicate use of a wide range of marine fish taxa including various sculpins (Cottidae), flatfish (Pleuronectiformes), herring (Clupea pallasii) and salmon (Oncorhynchusspp.). This illustrates a highly diverse diet throughout occupation, though relative abundances of more offshore taxa decrease through time in favor of some nearshore taxa, possibly indicating the presence of a coseismic event. This thesis serves as part of a pilot study for a collaborative project that is underway. This larger project addresses human response to both gradual and abrupt environmental change through the analysis of all classes of Tse-whit-zen faunal remains, which provide a link to impacts on animal populations and in turn human subsistence.

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Mulard, Delphine. "Production et réception des manuscrits enluminés japonais des XVIIe et XVIIIe siècles : le cas du « Récit de Bunshô » (Bunshô sôshi)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF012/document.

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Entre les années 1600 et 1750 au Japon, de nombreux manuscrits enluminés (Nara ehon et Nara emaki) ont été produits. Ils ont néanmoins fait l’objet d’assez peu de recherches. Cette thèse aborde ce genre en trois temps, à travers l’étude d’un récit, le « Récit de Bunshô » (Bunshô sôshi). Nous considérons d’abord le processus d’élaboration de ces œuvres. Peints par des artisans anonymes, les rouleaux et les codex enluminés sont parfois signés de leur calligraphe ou portent un sceau de boutique. Travaillant pour des boutiques concurrentes, calligraphes et peintres ne forment pas véritablement avec ces dernières un atelier. Les boutiques peuvent également agir comme les maîtres d’œuvre en coordonnant les peintres et les calligraphes. Il a été souvent dit que les rouleaux et les codex enluminés ont été élaborés pour faire partie de trousseaux de mariage (yomeiri-bon). En confrontant les sources historiques aux œuvres conservées, nous soulignons, dans la seconde partie, que cette affirmation est loin de se vérifier. Enfin, nous consacrons un développement à l’évolution de l’iconographie du Bunshô sôshi. Histoire de l’élévation sociale d’un saunier et romance amoureuse entre la fille de ce dernier et un aristocrate, le Bunshô sôshi comporte des scènes problématiques du point de vue de l’échelle sociale. Ces manuscrits comportent également des images spécifiques représentant le jeune héros aristocrate comme un personnage androgyne (wakashu), en combinaison avec des compositions génériques qui rappellent d’autres récits.Ce travail constitue une première synthèse des recherches sur ces rouleaux et livres enluminés en français
In the years between 1600 and 1750 AC, many anonymous illuminated handscrolls and manuscripts were produced in Japan, which are now collected under the name of Nara Ehon and Nara Emaki. Although they are very numerous, very few is known about them. This study is focused on those related to the tale of Bunshô (Bunshô sôshi) and proceeds in three steps.First, it examines the making process of these scrolls and manuscripts. Although the painters remained anonymous, a calligrapher's signature or the seal of a painting shop can sometimes be found. Calligrapher and painters could be working for several rival shops. Painting shops did not only sell painted scrolls or illuminated manuscripts, but worked the connections between the calligrapher and the painters as well.Then, our study reconsiders the place of illuminated scrolls and manuscripts in marriages' dowries, called yomeiri-bon. From what we know about marriages through historical sources and the surviving illuminated manuscripts, it can be stressed that very few manuscripts can be considered as yomeiri-bon.Finally, an analysis of Bunshô Sôshi's iconography throughout the years says a lot about how this tale was understood. As it tells about social ascension and how a saltmaker's daughter and an aristocrat lived a romance together, there is in this tale some problematic scenes, where the social scale is turned upside down. Also, specific compositions with an androgenic character (wakashu) as the hero are employed with more generic compositions echoing other stories as well.The present study represents a first extensive summary in French about those illuminated manuscripts

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Pierce, Justin Wade. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609135/.

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American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.

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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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Winther, Leslie. "Från Japan till Sundborn : En undersökning av Karin Larssons textilier." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435083.

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The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual male art student, which affected her art works. The subjects of her art works were also often the result of personal experiences. Furthermore, a correlation between the art works and Japanese woodblocks and Japanese embroidery techniques were identified.

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Levy, Deborah. "Mitate et citation dans l’oeuvre de Morimura Yasumasa : autoportrait d’une histoire de l’art." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080025.

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La citation et le mitate sont des procédés mimétiques proches au regard des autoportraits photographiques de Morimura Yasumasa. En citant directement les tableaux et le cinéma occidental, l’artiste reconstitue une histoire de l’art et de l’image dans le contexte japonais et du Kansai. Pourtant, bien que la citation, l’imitation et la copie caractérisent ses œuvres, l’artiste et les critiques japonais n’ont encore jamais mis en cause l’implication de l’influence du mitate. Or, sa définition, qui se traduit par une « transposition » que l’on déplace d’un cadre spatiaux-temporel à l’autre, sous une forme à la fois poétique, parodique et théâtrale, correspond à la galerie d’autoportraits morimuriens. A travers un réexamen comparatif avec l’ukiyo-e de l’époque Edo et l’histoire de l’autoportrait au Japon, la production de Morimura et de l’art japonais dit « postmoderne » sont réévalués. Le dessein d’un tel procédé rend possible une autre lecture, de reconfigurer une histoire de l’art spécifique au Japon. En effet, à travers le jeu ludique du mitate, Morimura questionne la vision de l’image, plutôt que sa signification, afin d’établir une première déchirure avec l’histoire de l’art européen et ses concepts. Dès lors, la transposition du mitate forme l’objectivation d’un moi ancré dans une dichotomie à la fois plastique, conceptuelle et genrée. L’analyse du genre au Japon et des médias occasionnent ainsi une relecture culturelle et sociale de l’autoportrait morimurien, tout en saisissant une nouvelle vision du troisième genre. L’examen du mitate et de l’histoire de l’art japonais encourage, par conséquent, une réévaluation d’un canon artistique japonais prémoderne et actuel
Quotation and mitate are mimetic processes present in the photographic self-portraits of Morimura Yasumasa and in the Japanese postmodern art. Quoting Western master pieces and cinema, Morimura recreates a history of image and art in the Japanese framework and in the Kansai landscape. Although the quotation, imitation and copy are characteristics of his production, the artiste and Japanese critics had never noticed or questioned the influence of mitate. And despite Japanese contemporary arts are considered in the international Postmodernism and Simulation’s movements, this thesis shows that the reading of the mitate allows a specific and an exclusive re-examination of the Japanese art history. After comparing ukiyo-e from the Edo period and contemporary artworks, we ascertain a clear definition of mitate, as an analogical “transposition” based on outward forms to create a new poetic, theatrical and parodic image. Consequently, the demonstration of the playful mitate in the Japanese contemporary visual wakagumi attests that artists bring into play the vision of the image, rather than its signification. Finally, mitate insides the Morimura’ self-portraits lead to a plastic, conceptual and gendered dichotomy. In this case, gender and media in Japan give a new examination of his production, and makes appears the vision of a third gender likes to the wakashû. Thus, artists and contemporary mitate-e testify the exchanges, influences and impacts between Western and Japanese arts to introduce a first gap with the European art history and its conceptions

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Handel-Bajema, Ramona. "Art Across Borders: Japanese Artists in the United States, 1895-1955." Thesis, 2012. https://doi.org/10.7916/D87S7VTW.

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From the 1880s to the early 1920s, hundreds of artists left Japan for the United States. The length of their stays varied from several months to several decades. Some had studied art in Tokyo, but others became interested in art after working in California. Some became successful in the American art world, some in the Japanese art world, and some in both. They used oil paints on canvas, sumi ink on silk, and Leica cameras. They created images of Buddhist deities, labor protests, farmers harvesting rice, cabaret dancers, and the K.K.K. They saw themselves and were seen by others as Japanese nationals, but whether what they created should be called Japanese art proved a difficult and personal question, The case of Japanese artists in the United States during the first half of the twentieth century demonstrates that there is a national art - a Japanese art and an American art - but that the category is not fixed. A painting can be classified in the 1910s as Japanese, but the same painting can be included in a show of American art a few decades later. An artist can proclaim himself to be American, but can then be exhibited as a Japanese artist after his death. National constructions of art and artists serve the art market's purpose of selling a work. Categories set along national lines also reinforce the state's projection of a distinct, homogeneous culture to the international community. For non-Western artists, assigning themselves with a national aesthetic allows for easy identification. But for modern Japanese artists like Kuniyoshi Yasuo, Ishigaki Eitarô, and Shimizu Toshi and others, national categories often posed barriers to creativity and to their success in the art world. Shimizu Toshi was awarded for painting a night scene of Yokohama, but his award was rescinded because he was Japanese. Savvy artists like Yoshida Hiroshi and Obata Chiura worked within national aesthetic categories to better market his work. Kuniyoshi Yasuo remained enigmatic, willing to fall into any category that a critic or dealer might determine they should be cast in, while Ishigaki Eitarô associated himself with international leftist politics that precluded notions of Japanese art. Exploring their histories brings several themes to the fore. First, any attempt to use a single, or hyphenated, national category to describe them or their art is problematic and misleading. An artist's "Japaneseness" was not a fixed characteristic: at different points in his career, he might be classified as a Japanese, American, or even a proletarian artist. Artists could sometimes choose to align themselves with one national culture or eschew both, but the denizens of the art world - critics, museum and gallery curators, schools, and other artists - as well as the public nearly always ascribed a national, or at best hybrid, aesthetic character to their work. During the 1910s and 1920s, when Japanese art had fallen out of fashion and modernism was the vanguard, Japanese artists were freer to transcend the preconceptions of what had become by then conventionally defined as a "Japanese aesthetic," which was based in good part on the works of Japanaiserie of earlier years. Artists of many nationalities strove to be "modern" by consciously rejecting "tradition," which for Japanese artists meant the styles and techniques of traditional Japanese painting. Many of the artists from Japan who wanted to make modern art had little practice in traditional art in any case, since they had received their artistic training in the United States. Indeed, it was their American mentors who taught them what Japanese art was supposed to look like. Modern art did not just set itself against the artistic conventions of the past; it also sought to comment on, and intervene in, the rapidly changing ways of modern life. Japanese artists in New York and Los Angeles joined their colleagues in turning to city streets and everyday life for their subjects, rather than reflecting on a safely imagined past. Portraying the streets they walked, in the techniques they learned in American art schools, came more naturally to them than making a woodblock print of a geisha strolling in a Kyoto garden. They used oils to paint flappers they saw on Fourteenth Street, but had no experience with woodblock printing, geisha, or the gardens of Kyoto.

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Du, Xiaohan. "On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan." Thesis, 2021. https://doi.org/10.7916/d8-gcqq-m715.

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This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247-1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk-calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture.

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Loh, Joseph Faii. "When Worlds Collide--Art, Cartography, and Japanese Nanban World Map Screens." Thesis, 2013. https://doi.org/10.7916/D85M6CSX.

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A number of Momoyama (1573-1615) and Edo (1615-1868) period folding screens feature Western maps of the world as their subject. These map screens are among the earliest examples of Japanese visual culture to feature pictorial imagery shaped by European cartographic science, geographic knowledge, and overseas trade and exploration. In these works, anonymous Japanese artists adapted Western European maps and book illustrations, often making substantial changes of form and content. This dissertation confronts many current assumptions concerning the nature of the map screens. The study argues that Japanese artists who produced the screens grappled with a complex tension between European pictorial cartographic representations of a newly introduced world and the world views that prevailed in Japan. It proposes that European map imagery and pictorial forms, through the process of reinvention for the Japanese format of the folding screen and for Japanese tastes and sensibilities, became vulnerable to alternative, and often unintended, interpretations by the Japanese political and social elite. The present study considers various dimensions of the world map screens: the manner of their production; their meaning in relation to maps of Japan and other subjects; their implications in regard to an established world view and cosmological order; their circulation in a changing political and cultural sphere; and their position within the modern history of Japanese maps and art.

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Jones, Meghen. "Tomimoto Kenkichi and the discourse of modern Japanese ceramics." Thesis, 2014. https://hdl.handle.net/2144/14288.

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In Japan, ceramics has long been considered a medium associated with elevated aesthetic expression and high cultural capital. However, the late nineteenth and twentieth centuries saw transformations of its epistemological underpinnings. The collapse of the feudal system gave rise to the multivalenced concept of "art craft" (bijutsu kôgei) that included "art ceramics." For individual artists like Tomimoto Kenkichi (1886-1963), ceramics traversed a parallel path with other mediums of modern art that emphasized self-expression and hybridizations of multiple geo-historical sources. Ultimately, these ceramics became significant state-supported symbols of the nation. An analysis of the art, praxis, and theories of Tomimoto Kenkichi presents an ideal case study for illuminating the central mechanisms responsible for the emergence and development of modern Japanese art ceramics. With a wide angle yet critical perspective lacking in previous studies, this dissertation not only reveals Tomimoto's complex individual role in the history of modern ceramics, but also sheds light on the ontology of modern Japanese craft itself. By considering Tomimoto's entire oeuvre-- including calligraphy, ceramics, design goods, painting, and prints--we may track the development of his modernist embrace of the direct observation of nature, abstract form, and original expression. His praxis, synergistically modeled on William Morris and Ogata Kenzan, reveals a modernist stance towards Japanese literati culture in which ceramics became a medium negotiating between British Arts and Crafts design; modernist European sculpture; and Chinese, Korean, and Japanese historical ceramics. The dissertation's diachronic structure charts artistic concepts, ideologies, and creative works from the late Meiji to the mid-Shôwa eras, relying on formal analysis as well as organizational analysis of pedagogical systems, art organizations, and exhibition structures. Chapter One considers Tomimoto's lineal inheritances, university education, and self-study. Chapter Two explores Tomimoto's discourse of self-expression and the equivalency of artistic mediums. Chapter Three deconstructs the image of the ceramic vessel and Tomimoto's discourse of ceramic form according to respective engagements with Joseon porcelain and modernist sculpture. Chapter Four analyzes the sinophilic and modernist aspects of his overglaze enamel porcelain. Finally, Chapter Five surveys the role of exhibitions and preservation efforts in positioning ceramics as art and national tradition.

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Andrei, Talia Johanna. "Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara." Thesis, 2016. https://doi.org/10.7916/D8VX0GPV.

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This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created—schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). For each of the sites, we read the histories (political, religious, economic, social) and diaries (of pilgrims, monks and warlords), noting upheavals, power dynamics, and institutional relationships, and how these circumstances and relationships changed over the course of the 16th and early 17th centuries. We then apply this textual history to a formal analysis of each of the mandara devoted to the site, studying how the history of the site and the layout of the shrines and temples and the route to them are expressed in the pictorial language of the mandara, and we try to imagine how these paintings were employed and enlivened in etoki performances. Furthermore, by closely studying similarities and differences in choice and emphasis we show that the mandara, above their call for pilgrimage and donations, also encode the historical conditions at the time they were painted, capturing for example the tensions between religious groups and classes or the changing fortunes of a particular institution over time. This investigation thus aims to show how reading the artistic language of sankei mandara enlarges our understanding of a particular moment in Japan’s social and religious history, making these images valuable primary sources that enhance and supplement research in a wide range of fields.

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Khan, David M. "Questions of cultural identity and difference in the work of Yasumasa Morimura, Mariko Mori and Takashi Murakami : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Art History in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20071012.091748.

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Wang, Han-Rong, and 王涵容. "The Creation of Comic Book of Art History During the Japanese-Occupied Period in Taiwan." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/22540964366764478767.

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碩士
國立雲林科技大學
視覺傳達設計系
102
“Comic " is children and even adults’ popular media, and it is not only quick to transmit messages, but also achieve the purpose by using pictures to arouse the interest of readers. Taiwan’s history comics are seldom to note Taiwanese art development on currently market. In this study with own specialty to show the Taiwanese art history by caricature, in order to allow more people to both easy and fun to learn the history of art in Taiwan. To know the factor and structure of by historical comic by documentary. The result used as the basis theory for the research creation. This research creation “The Seed Of Western Art In Taiwan” describe the art development during the Japanese-Occupied Period, the content is fit to junior high school and senior high school students so as an main readers, and “The Art Movement During The Japanese-Occupied Period In Taiwan” by Li-Fa Hsieh as a reference of writing synopsis. Besides the comic, the words are appeared in the book to describe the history. The words of history are to compensate for the shortages of comic form. Finally, the creation using the horizontal words of left turn book(18.7x24cm). The research hope to finish the creation which can achieve the function of easy to read and understand the art history during the Japanese-Occupied Period in Taiwan.

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Kuo, Yi-Hsuan, and 郭懿萱. "The History and the Art of Keelung Lin-Chuen Temple during the Japanese Rule Period." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/21812645262723131824.

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碩士
國立臺灣大學
藝術史研究所
102
Locating on the Mt. Yue Mei in Keelung, Lin-Chuen Temple is the first temple established in the turning point of 20th century within four main influential temples that continue today. The initial of the temple is not only reliant on the local Taiwanese business group, but also strongly supported by Caodong School in Japan; both forces laid down the leading role of the temple in Northern Taiwan. In present day, three buildings of temple architecture that constructed in Taish&;#333; and Sh&;#333;wa period remained, including Buddha hall, Kai–Shan-Tang and Lin-Chuen Three Towers. Its compromised style reflected the dual functions of the temple: doing daily dharma practice and attracting public attention. While the society became more and more modern, the architectural policy and technique at the time did affected the way of designing. The temple’s designer, who fitted different buildings with specific appearance in regard to its functions, tried to establish an image of Lin-Chuan Temple that is both traditional and modern. ShanHui Jiang, the first abbot of Lin-Chuen Temple, played the vital role of founding and designing the temple. He led the monks and believers in Keelung spreading Buddhist education to Taiwanese in a time when Japanese authority has not fully controlled its colony Taiwan; moreover, he joined the Ying Club, cooperated with the other local temples, and associated with new intellectuals. All of the social networking therefore raised the status of Lin-Chuen Temple, fashioning Lin-Chuen Temple not only a model temple but also the famous place in Taiwan.

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Soudková, Kateřina. "Myšlenky zenového buddhismu a jejich odraz v japonském umění." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350514.

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Zen Buddhism Thoughts and their Reflection in Japanese Art This thesis covers the development of Chan and Zen Buddhism thoughts, their effect on Japanese culture and their reflection in specific art forms. In the first part, it summarizes the arriving and settling of Zen in Japan as a follow-up to Chan development in China and as a reaction to the preceeding Buddhist schools in Japan. In the second part it deduces a set of criteria for defining "Zen Arts" from the general trends in taste at that time. And in the third part, it compares the differences in architecture, landscape design and painting before and after the influence of Zen. It follows the changes in development of specific components and techniques of these art forms and on this basis it determines what are the key Zen Buddhism thoughts that are expressed by that and how.

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Yan-Shuo, Huang, and 黃彥碩. "The Study of practical Application Hypermedia in Art History Appreciation Education of Elementaryand Junior High School-as an Example of Taiwanese Western Art during Japanese colonized period(1895-1945)." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/80194051041452167585.

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碩士
國立臺灣師範大學
美術學系
86
Although Art plays an important role in cultural conservation and inheriting, the knowledge and ability of Art Application is neither inborn nor automatic — developing, much less obtaining by the way of art creation. If we want to understand and learn culture through art education, so as to achieve the effect of inheriting culture, we must acquire some art appreciating knowledge and ability. In the Art appreciating curriculum of Elementary and Junior High School, Art History usually plays the role of introducing cultural heritage. Art History Education takes so dominant a responsibility to cultural conservation and inheriting, however, document analysis tells that The Art appreciation Education in Elementary and Junior School of Taiwan is not complete and ideal. “Hypermedia” system is considered as a kind of suitable teaching tool, because its integration is so strong as to satisfy each learner’s requirement, the jumping quality of hyperlink matches the thinking mode of human beings, allowing the data-presenting way of multimedia, taking less storing space, easier compiling, renewing and expanding data, especially emphasizing the self-learning of users, in order to construct personal knowledge system, this corresponds to main points of constructists and draws the attention of educational scholars. As to the Art History Education, “Hypermedia” system is truly a king of suitable tool for integrating all sorts of art history data and Art appreciation teaching, but the related study is not so numerous. This study focuses on the teaching materials of Taiwanese Western Art during Japanese colonized period (1895-1945), after the consideration and analysis the content and teaching mode of elementary and Junior School Art History Education, we start the initial production and development of Art History auxiliary teaching system, and at last estimate systematically this project. Most of the experts and art teachers hold the positive opinion about the result of entire assessment of this system. The sanctionary proportion of all items in entire assessment is as high as third over the fourth. The sanctionary proportion of experts is even higher than eighty-seven percent, as a result, the art appreciation teaching mode in this study is tangible and practical. In the view of this system can also achieve the expecting purpose of “Art History auxiliary teaching tool”. However, The user is often bothered by the problems of Hypermedia system, and the initial type of this system is unable solve these problems yet, so the forward study is still wanting.

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Mudd, Scott E. "Graphic propaganda Japan's creation of China in the prewar period, 1894-1937 /." Thesis, 2005. http://micro189.lib3.hawaii.edu/ezproxy/details.php?dbId=320.

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Cuthbert, Nancy Marie. "George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art." Thesis, 2012. http://hdl.handle.net/1828/4142.

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Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.
Graduate

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PEŠKOVÁ, Lucie. "KAŽDODENNOST." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-153025.

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This thesis consists of a theoretical part, that contains passages relating to the issues of everyday life. Further highlights the views and theses related to the banality of life in sociological and anthropological sciences. The chapter acquainting us with brief encyclopedic history of everyday life has to refer to the selected daily activities such as personal hygiene, eating and so on. The theoretical part also deals with the work of certain European artists with themes of everyday life in the context and its influence on Japanese woodcuts. The practical part describes the main sources of inspiration and technology. The conclusion is generated image attachment, for a better understanding of the text.

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Polláková, Petra. "Východoasijská kaligrafie a české umění po roce 1948." Doctoral thesis, 2020. http://www.nusl.cz/ntk/nusl-415375.

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My dissertation thesis seeks to explore some specific social aspects of the dialogue between traditional Chinese art and thinking and Czech art scene after the February1948, when the Communist party took power in former Czechoslovakia. I am mainly interested in the problematic of inspiration from traditional Chinese calligraphy and Daoist philosophy on Czech painting, visual poetry and literature in the 1950s and 1960s. I will argue that the appropriation of selected Chinese philosophical and artistic themes helped Czech artists, working under the communist repression, to express their innermost human emotions in relation to home, culture, freedom, and one's artistic and human destiny. The communist regime meant to many artists the end of their official artistic career. Life in seclusion outside the main political and social streams became for some of them an opportunity to display pent-up feelings of affinity with the life stories of the ancient Daoist thinkers. In this context, focus is primarily placed on an analysis of several distinctive visual and literary works by Czech leading artists of the period, especially on the selected works by the visual artists Emil Filla, Jiří Kolář, Vladimír Boudník, Jan Kotík or Zdeněk Sklenář and the novelist Bohumil Hrabal (1914 - 1997) and his world famous...

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Davre, Amandine. "(In)visibilité de la radioactivité dans l’art et la photographie du Japon après « Fukushima » : médiations et expositions." Thesis, 2020. http://hdl.handle.net/1866/25577.

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Au lendemain du séisme et du tsunami qui ont frappé le Japon le 11 mars 2011, la situation catastrophique qui s’est déroulée à la centrale nucléaire de Fukushima Daiichi a amené son lot de confusions, de peurs et d’angoisses. Face à une gestion gouvernementale du désastre hésitante et à une couverture médiatique peu appropriée à l’échelle de l’évènement nucléaire – une catastrophe dont les effets sont invisibles et s’étendent dans le temps – la création artistique japonaise s’est mobilisée. Hantés par ces évènements traumatiques et par une radiophobie ambiante, les artistes se sont autant questionnés sur le devoir de l’art en temps d’indicible désastre que sur sa possibilité et sa figurabilité. Consacrée à la mise en visibilité de la radioactivité, cette thèse met en lumière l’émergence d’une nouvelle impulsion artistique souhaitant composer avec la catastrophe nucléaire et compléter son iconographie, que nous nommons l’ « art post-Fukushima ». Nous nous intéressons au travail photographique de trois artistes japonais, Arai Takashi, Kagaya Masamichi et Takeda Shimpei, qui utilisent des techniques photographiques analogiques – daguerréotype, autoradiographie et radiogramme – visant à documenter et à exposer la trace de l’irradiation. Le sujet est ainsi approché sous l’angle des (in)visibilités de l’évènement nucléaire, de ses médiations et de ses expositions : exposition du support photosensible à la lumière (qu’elle soit naturelle ou radioactive) et à l’évènement nucléaire, exposition au sens plus large de promotion et de diffusion au Japon et en Occident, puis exposition du spectateur à ce type de photographie. À la veille du dixième anniversaire de la triple catastrophe, cette thèse de doctorat se destine à rendre visibles les enjeux de l’art post-Fukushima et à participer, à son tour, à replacer « Fukushima » et la contamination radioactive au centre de l’attention collective et à réactualiser sa mémoire.
On the 11th March 2011 an earthquake and tsunami struck Japan triggering a catastrophic chain of events at the Fukushima Daiichi nuclear power plant that seeded fear and confusion in the population. In the face of the government’s hesitant handling of the crisis and of inadequate media coverage regarding the scale of the disaster, Japanese artists mobilized to create their own responses relating to the ongoing and invisible effects of the calamity. In the shadow of the catastrophe, haunted by traumatic events and by an encompassing radiophobia, these artists have come to question the limits of figurability and also to ask what art is capable of and what its role can be. This thesis examines the emergence of “post-Fukushima art,” a term coined to describe a new, more politicized impulse in Japanese art, one that strives to provide an iconography adequate to the nuclear disaster and to render radiation visible. The thesis explores the photographic works of three artists in particular, Arai Takashi, Kagaya Masamichi and Takeda Shimpei. The trio employ analogue photographic techniques – daguerreotype, autoradiography and radiography – as a means to document and expose traces of irradiation. Their art is viewed through the prism of varied (in)visibilities linked to the nuclear catastrophe and addresses issues such as mediation and exposure. Exposure is understood in multiple senses, including exposure of a photosensitive support to light (such as radioluminescence), exposure to radioactive material generated by the disaster and, drawing on the French term exposé, exposure in the sense of exhibition. Exhibitions involve exposing viewers to photographs that relate to the catastrophe. On the eve of the tenth anniversary of the triple disaster, the thesis outlines the continuing stakes involved in post-Fukushima art as an effort to remember the event. It contributes to broader efforts aimed at refocussing attention on the aftermath of the disaster, including the radioactive contamination it caused.

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Hojda, Ondřej. "JAPONSKO A MODERNÍ ARCHITEKTURA 1945-1970. Diskurs v Evropě poloviny 20. století." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-389638.

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Abstract:

The dissertation deals with ideas about Japanese architecture in the Western, namely European discourse between 1945 and 1970. Architects and critics identified striking similarities between the Modernist architectural principles and the Japanese tradition from the 1920s; after the World War II, these similarities sparked a wide interest among the architectural public, which led to numerous publications on Japan unprecedented in scope and depth when compared with any other non-Western culture. The goal of this work is to map the discourse that occurred this way, identify the main themes connected to Japan, and show their significance. The sources for the study are prevalently printed media: architectural magazines and books. The notion of 'image' of Japan proves useful since we study interpretations of a different culture; history of ideas as well as visual representation in photography. At the same time, work also follows the of general issues of understanding the 'other'. An analysis of these various representations of Japan in the printed architectural media makes up the main part of the research presented here. To examine the origins of these ideas we go back to the 1930 with architects-writers Tetsurō Yoshida and Bruno Taut, and subsequently look into of writings about Japan by architects who...

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Dissertations / Theses on the topic 'Japanese art history][Zen art'

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