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Journal articles on the topic 'Japanese art history][Zen art'

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Published: 4 June 2021
Last updated: 15 February 2022

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1

Bodiford, William M. "Zen in the Art of Funerals: Ritual Salvation in Japanese Buddhism." History of Religions 32, no. 2 (November 1992): 146–64. http://dx.doi.org/10.1086/463322.

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2

Bakeland, Frederick, and Stephen Addiss. "The Art of Zen: Paintings and Calligraphy by Japanese Monks, 1600-1925." Monumenta Nipponica 45, no. 1 (1990): 119. http://dx.doi.org/10.2307/2384509.

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3

Sato, Yoshinobu, and Mark E. Parry. "The influence of the Japanese tea ceremony on Japanese restaurant hospitality." Journal of Consumer Marketing 32, no. 7 (November 9, 2015): 520–29. http://dx.doi.org/10.1108/jcm-09-2014-1142.

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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.
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MILLER, MARA. "Muroji: Rearranging Art and History at a Japanese Buddhist Temple by fowler, sherry d. Daitokuji: The Visual Cultures of a Zen Monastery by levine, gregory p. a." Journal of Aesthetics and Art Criticism 68, no. 2 (May 2010): 176–79. http://dx.doi.org/10.1111/j.1540-6245.2010.01403_2.x.

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5

Barnhart, T. A. "Zen and the Art of Local History." Journal of American History 102, no. 1 (June 1, 2015): 208. http://dx.doi.org/10.1093/jahist/jav316.

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6

Sandler, Mark H., and Penelope Mason. "History of Japanese Art." Journal of Japanese Studies 21, no. 1 (1995): 239. http://dx.doi.org/10.2307/133113.

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7

Barrett, T. H. "Zen and the Art of Librarianship." Journal of Chan Buddhism 1, no. 1-2 (December 22, 2020): 3–16. http://dx.doi.org/10.1163/25897179-12340002.

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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.
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8

Teorey, Matthew. "Zen and the Art of Chickenman." Journal of American Culture 43, no. 3 (August 9, 2020): 185–97. http://dx.doi.org/10.1111/jacc.13180.

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9

Franco, Barbara. "Book Review: Zen and the Art of Local History." Public Historian 37, no. 1 (February 1, 2015): 142–44. http://dx.doi.org/10.1525/tph.2015.37.1.142.

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10

CHOI, Jaehyuk. "‘Lineage of Eccentrics’: Popularization of Art History, or Rewriting Japanese Art History." Korean Journal of Japanese Dtudies 20 (February 15, 2019): 42–77. http://dx.doi.org/10.29154/ilbi.2019.20.042.

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11

Sherif, Ann, and Roy Starrs. "An Artless Art: The Zen Aesthetics of Shiga Naoya." Monumenta Nipponica 54, no. 3 (1999): 410. http://dx.doi.org/10.2307/2668373.

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12

Gross, Rita M. "Bringing Zen Home: The Healing Art of Japanese Women’s Rituals by Paula Arai." Buddhist-Christian Studies 33, no. 1 (2013): 217–20. http://dx.doi.org/10.1353/bcs.2013.0005.

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13

Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.

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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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14

Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching classical Japanese Haiku poetry through the perspective of ink painting art and application to teaching foreign literature for Literature Pedagogy students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (June 23, 2021): 41–49. http://dx.doi.org/10.52296/vje.2021.98.

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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a new approach towards classical Haiku poetry through the perspective of ink painting art (aka painting art). With the aim of observing the beauty of Japanese literature and culture, the study analyzes the causes and some specific manifestations of the similarities between Japanese ink painting art and classical Haiku poetry in terms of artistic methods. The root cause lies in the influence of Zen, as a cultural characteristic of the Japanese spirit, and the specific manifestations include the technique of empty spaces in ink painting art, and the empty poetic strategy in classical Haiku poetry, the features of the conception scenery and the moment characteristic in both Oriental art genres.
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Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching Classical Japanese Haiku Poetry through the Perspective of Ink Painting Art and Application to Teaching Foreign Literature for Literature Pedagogy Students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (June 29, 2021): 52–60. http://dx.doi.org/10.52296/vje.2021.69.

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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a new approach towards classical Haiku poetry through the perspective of ink painting art (aka painting art). With the aim of observing the beauty of Japanese literature and culture, the study analyzes the causes and some specific manifestations of the similarities between Japanese ink painting art and classical Haiku poetry in terms of artistic methods. The root cause lies in the influence of Zen, as a cultural characteristic of the Japanese spirit, and the specific manifestations include the technique of empty spaces in ink painting art, and the empty poetic strategy in classical Haiku poetry, the features of the conception scenery and the moment characteristic in both Oriental art genres.
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16

Kornicki, P. F., and Jack Hillier. "The Art of the Japanese Book." Monumenta Nipponica 44, no. 2 (1989): 253. http://dx.doi.org/10.2307/2384980.

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17

Guth, Christine M. E. "The Divine Boy in Japanese Art." Monumenta Nipponica 42, no. 1 (1987): 1. http://dx.doi.org/10.2307/2385037.

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18

Figal, Günter. "To the Margins. On the Spatiality of Klee’s Art." Research in Phenomenology 43, no. 3 (2013): 366–73. http://dx.doi.org/10.1163/15691640-12341264.

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Abstract With reference mainly to Paul Klee’s Ad marginem from 1930 (reworked 1935/36), this article focuses on space—namely, on the question of how space can be made visible as such. Having figures, lines, and the background establishing an intense interplay of transparency, Klee’s work refrains from displaying the mere spatiality of objects. It is this interplay of transparent figures entangled with their background that are withdrawing but not disappearing that creates an empty space that is as such limited and unoccupied. Compared to a (Japanese Zen-) garden, the idea of limiting and simultaneously making visible an eminent openness is stressed. Referring, furthermore, to observations like Rilke’s poem Shawl or to Toyo Ito’s comments on Klee’s work, this article aims to display the eminent space character becoming visible in the painter’s œuvre.
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19

Noviana, Fajria. "KESEDERHANAAN WABICHA DALAM UPACARA MINUM TEH JEPANG." IZUMI 4, no. 1 (January 3, 2015): 37. http://dx.doi.org/10.14710/izumi.4.1.37-43.

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The Japanese tea ceremony is called chanoyu in Japanese. It is a multifaceted traditional activity strongly influenced by Zen Buddhism, in which powdered green tea, or matcha, is ceremonially prepared and served to the guests. Wabicha is a style of Japanese tea ceremony particularly associated with Sen no Rikyū that emphasizes simplicity. He refined the art of Japanese tea ceremony equipment and tea house design, with a preference for very simple and very small tea rooms, and natural materials with simpler decoration
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20

Kuramitsu, Kristine C. "Internment and Identity in Japanese American Art." American Quarterly 47, no. 4 (December 1995): 619. http://dx.doi.org/10.2307/2713369.

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21

Sharf, Robert H. "Zen and the Art of DeconstructionThe Rhetoric of Immediacy: A Cultural Critique of Chan/Zen Buddhism. Bernard Faure." History of Religions 33, no. 3 (February 1994): 287–96. http://dx.doi.org/10.1086/463370.

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22

Mariotti, Shannon. "Zen and the Art of Democracy: Contemplative Practice as Ordinary Political Theory." Political Theory 48, no. 4 (November 6, 2019): 469–95. http://dx.doi.org/10.1177/0090591719887224.

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In recent years, contemplative practices of meditation have become increasingly mainstream in American culture, part of a phenomenon that scholars call “Buddhist modernism.” Connecting the embodied practice of meditation with the embodied practice of democracy in everyday life, this essay puts the radical democratic theory of Jacques Rancière into conversation with the Zen writings of Shunryu Suzuki and Thomas Merton. I show how meditation can be understood as an aesthetic practice that cultivates modes of experience, perception, thinking, and feeling that further radical democratic projects at the most fundamental level. Reading the landscape of Buddhist modernism to draw out democratic possibilities, we can understand contemplative practices like meditation as a form of political theorizing in a vernacular register. Buddhist modernism works as a practice of everyday life that ordinary users can employ to get through their days with more awareness and attentiveness, to reclaim and reauthorize their experience, and to generate more care and compassion in ways that enable, enact, and extend the project of democracy itself.
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23

Keyworth, George A. "‘Study Effortless-Action’." Journal of Religion in Japan 6, no. 2 (2017): 75–106. http://dx.doi.org/10.1163/22118349-00602003.

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Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts by Zen monastics? This paper first investigates the case of a network of eminent seventeenth- and eighteenth-century scholar-monks from all three modern traditions of Japanese Zen—Sōtō, Rinzai, and Ōbaku—who extolled the commentary Kakumon Kantetsu 廓門貫徹 (d. 1730) wrote to every single piece of poetry or prose in Juefan Huihong’s 覺範恵洪 (1071–1128) collected works, Chan of Words and Letters from Stone Gate Monastery (Ch. Shimen wenzichan; Jp. Sekimon mojizen). Next, it explores what the wooden engravings of Study Effortless-Action and Efficacious Vulture at Daiōji, the temple where Kantetsu was the thirteenth abbot and where he welcomed the Chinese émigré Buddhist monk Xinyue Xingchou (Shin’etsu Kōchū 心越興儔, alt. Donggao Xinyue, Tōkō Shin’etsu 東皐心越, 1639–1696), might disclose about how Zen was cultivated in practice? Finally, this paper asks how Kantetsu’s promotion of Huihong’s “scholastic” or “lettered” Chan or Zen might lead us rethink the role of Song dynasty (960–1279) literary arts within the rich historical context of Zen Buddhism in Edo Japan?
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24

Tanaka, Hidemichi. "The Problem of the Styles of Japanese Art History." Acta Historiae Artium 49, no. 1 (December 1, 2008): 193–99. http://dx.doi.org/10.1556/ahista.49.2008.1.22.

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25

Inoue, Tsuyoshi, Yoko Sugawara, Atsushi Nakagawa, and Masaki Takata. "Japanese Crystallography in Culture and Art." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C1304. http://dx.doi.org/10.1107/s2053273314086951.

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"We can find many seeds of crystallography in Japanese culture. Most of the family crests have symmetry elements such as rotation axes and mirror symmetry elements. Sekka-zue, a picture book of 86 kinds of crystals of snow, was made by Toshitura Doi, who is a feudal lord in Edo-period and he observed snow using a microscope in nineteenth century. In recent years, people enjoy to make crystal structures, polyhedrons, carbon nanotube, quasicrystal etc. by origami, the art of folding paper [1]. In the field of science, the Japanese crystallography has contributed to explore culture and art. An excellent example is unveiling the original color of Japanese painting "Red and White Plum Blossoms" by Korin Ogata [2]. Prof. Izumi Nakai (Tokyo University of Science) developed an X-ray fluorescence analyzer and an X-ray powder diffractometer designated to the investigation of cultural and art works and had succeeded in reproducing the silver-colored waves through computer graphics after X-ray analyses of crystals on the painting. The scientific approach by Prof. Nakai et al. unveiled the mystery of cultural heritage of ancient near east, ancient Egypt etc. and is being to contribute to insight into the history of human culture. [1] An event to enjoy making crystals by origami is under contemplation. [2] The symposium ""Crystallography which revives heritages"" was held on February 16, 2014 at Atami in Japan."
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Pak, Youngsook. "Joan Stanley-Baker: Japanese art. (World of Art.) 216 pp. London: Thames and Hudson, 1984. £3.95." Bulletin of the School of Oriental and African Studies 49, no. 3 (October 1986): 617–18. http://dx.doi.org/10.1017/s0041977x00045663.

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Yiengpruksawan, Mimi Hall. "Japanese Art History 2001: The State and Stakes of Research." Art Bulletin 83, no. 1 (March 2001): 105. http://dx.doi.org/10.2307/3177192.

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28

Hein, Laura. "Modern Art Patronage and Democratic Citizenship in Japan." Journal of Asian Studies 69, no. 3 (June 22, 2010): 821–41. http://dx.doi.org/10.1017/s002191181000149x.

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Wakimura Yoshitarō, a prominent Japanese economics professor and art collector, helped establish or sustain at least eight art museums in postwar Japan. He did so to create important institutions of democratic empowerment rather than nationalist displays of power. The crucial context was defeat in World War II, which left many Japanese, including Wakimura, committed to taming capitalism. Wakimura was particularly interested in creating new practices of art appreciation that could mediate relations between potentially antagonistic groups of Japanese, and in building museums as fresh spaces to house these newly egalitarian relationships. He emphasized the value to society created when individuals developed their aesthetic and thus political judgment. His efforts help explain the proliferation of both public and private art museums in postwar Japan as well as the nature of postwar political culture.
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Kitazawa, Noriaki, and 빛나 황. "Exhibitions and Books History of ‘Japanese Contemporary Art History’ Studies in Japan." Art History Forum 50 (June 30, 2020): 215–33. http://dx.doi.org/10.14380/ahf.2020.50.215.

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Kitazawa, Noriaki. "Exhibitions and Books History of ‘Japanese Contemporary Art History’ Studies in Japan." Art History Forum 50 (June 30, 2020): 234–51. http://dx.doi.org/10.14380/ahf.2020.50.234.

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31

Cooper, Michael, and Laurance P. Roberts. "Roberts' Guide to Japanese Museums of Art and Archaeology." Monumenta Nipponica 42, no. 4 (1987): 509. http://dx.doi.org/10.2307/2384996.

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32

Stauskis, Gintaras. "JAPANESE GARDENS OUTSIDE OF JAPAN: FROM THE EXPORT OF ART TO THE ART OF EXPORT." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 3 (September 30, 2011): 212–21. http://dx.doi.org/10.3846/tpa.2011.22.

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Since the 19th century, a Japanese garden as a cultural phenomenon with a millennium-old history of religion and philosophy-based landscaping art has been exported to different regions of the globe and built in countries far from the land of its origin. The article focuses on two aspects of Japanese gardens: the basic and more specific principles of planning and design of a traditional Japanese garden, and the related discourse of a tradition of exporting its planning and design cultural tradition outside of Japan. Based on analysed international examples of Japanese-style gardens, the specific traits of planning the landscape of these gardens were identified. The narrative of multiple psycho-emotional effects that these gardens have on their users and visitors is disclosed in correlation with the specific aspects of their planning and design. The culture of exporting a Japanese garden tradition overseas is discussed and the important principles for introducing a Japanese garden to a remote cultural context are spotlighted. The concluding remarks on the user-oriented culture of exporting a Japanese garden as a complete planning and design system of landscape architecture, reflect author’s aspiration to open a wider cross-professional discussion and research on the topic. Santrauka Japonijos sodai – tai tūkstantmetes tradicijas turintis filosofija ir religija grįstas kraštovaizdžio architektūros kultūrinis reiškinys, kurio pavyzdžiai nuo XIX a. yra eksportuojami ir įrengiami skirtinguose pasaulio regionuose. Kraštovaizdžio architektūros požiūriu straipsnyje nagrinėjami du Japonijos sodų aspektai: esminiai šių sodų suplanavimo ir įrengimo principai bei specifiniai bruožai, taip pat Japonijos sodų meninės tradicijos eksporto ir sklaidos užsienyje klausimai. Visame pasaulyje garsių Japonijos sodų pavyzdžių apžvalga ir pasirinktų Baltijos jūros regiono pavyzdžių tyrimas atskleidžia esminius šių sodų suplanavimo principus, kurie sietini su lankytojams formuojamu psichologiniu emociniu poveikiu. Aptariant Japonijos sodų eksporto į kitus etninius ir geografinius regionus klausimus iškeliama jų integravimo į skirtingą kultūrinį kontekstą problema. Straipsnis apibendrinamas baigiamosiomis nuostatomis, kurios apibrėžia tolesnio Japonijos sodų meno diskurso lauką nuo vartotojo poreikių iki vientisos kraštovaizdžio sistemos eksporto galimybių, išreiškia autoriaus siekį atverti šia tema platesnį tyrimų ir diskusijų lauką.
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Wenger, Gina Mumma. "History Matters: Children’s Art Education inside the Japanese American Internment Camp." Studies in Art Education 54, no. 1 (October 2012): 21–36. http://dx.doi.org/10.1080/00393541.2012.11518877.

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Morse, Samuel Crowell. "Muroji: Rearranging Art and History at a Japanese Buddhist Temple (review)." Monumenta Nipponica 61, no. 2 (2006): 275–78. http://dx.doi.org/10.1353/mni.2006.0019.

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Andrews, Julia F., and Kuiyi Shen. "The Japanese Impact on the Republican Art World: The Construction of Chinese Art History as a Modern Field." Twentieth-Century China 32, no. 1 (November 2006): 4–35. http://dx.doi.org/10.1179/tcc.2006.32.1.4.

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Andrews, Julia F., and Kuiyi Shen. "The Japanese Impact on the Republican Art World: The Construction of Chinese Art History as a Modern Field." Twentieth-Century China 32, no. 1 (2006): 4–35. http://dx.doi.org/10.1353/tcc.2006.0011.

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Kursova, Marina, and Evgeniya Repina. "CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA." INNOVATIVE PROJECT 4, no. 10 (December 2019): 20–25. http://dx.doi.org/10.17673/ip.2019.4.10.2.

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The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transformation under the conditions of postmodernism are considered. In the course of analyzing the attitude of the modern generation to the categories of emptiness and space, the preconditions for the return of the attitude to emptiness and space as sacred categories of architectural culture are revealed.
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Zhou, Wu-Zhong, and Xiao-Bai Xu. "Penjing: The Chinese Art of Bonsai." HortTechnology 3, no. 2 (April 1993): 150–54. http://dx.doi.org/10.21273/horttech.3.2.150.

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More and more people have become very interested in bonsai, a unique art of gardening that originated in China. However, most people know about Japanese bonsai and have only scant knowledge of Chinese bonsai. This paper gives a brief introduction to the history, local schools, and patterns of the bonsai art in the Chinese tradition, as well as a list of plants used for bonsai in China.
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Bincsik, Monika. "The concept of ‘art’ in the Japanese art history writing from artist lineages to the nineteenth-century Western model." Acta Historiae Artium 49, no. 1 (December 1, 2008): 113–18. http://dx.doi.org/10.1556/ahista.49.2008.1.14.

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Favell, Adrian. "Resources, Scale, and Recognition in Japanese Contemporary Art: “Tokyo Pop” and the Struggle for a Page in Art History." Review of Japanese Culture and Society 26, no. 1 (2016): 135–53. http://dx.doi.org/10.1353/roj.2016.0000.

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Pilgrim, Richard B., and Donald F. McCallum. "Zenkoji and Its Icon: A Study in Medieval Japanese Religious Art." American Historical Review 101, no. 2 (April 1996): 538. http://dx.doi.org/10.2307/2170524.

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Takezawa, Yasuko, and Laura Kina. "Trans-Pacific Japanese Diaspora Art: Encounters and Envisions of Minor-Transnationalism." Amerasia Journal 45, no. 3 (September 2, 2019): 373–76. http://dx.doi.org/10.1080/00447471.2019.1721648.

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Sakai, Naotaka. "Japanese Symposium of Performing Art Medicine, Kawasaki, July 19, 2004." Medical Problems of Performing Artists 19, no. 4 (December 1, 2004): 186. http://dx.doi.org/10.21091/mppa.2004.4031.

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It has been more than 20 years since the first symposium on performing arts medicine was held in Aspen, and last year, the European Congress of Musicians Medicine had their 10th meeting in Turku, Finland. However, there has never been a conference or symposium on performing arts medicine held in Japan, despite the large numbers of professional musicians and dancers in that country. This past July, Dr. Naotaka Sakai and four other physicians who have been treating the medical problems of musicians, as well as a manager who has been taking care of musicians’ medical and life insurance, organized the first Japanese Symposium of Performing Art Medicine.
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Dean, Britten. "That `Howling' Music. Japanese Hogaku in Contrast to Western Art Music." Monumenta Nipponica 40, no. 2 (1985): 147. http://dx.doi.org/10.2307/2384717.

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45

ten Grotenhuis, Elizabeth, Harry G. C., Yoko Woodson, and Richard T. Mellott. "Exquisite Pursuits: Japanese Art in the Harry G. C. Packard Collection." Monumenta Nipponica 49, no. 4 (1994): 514. http://dx.doi.org/10.2307/2385269.

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Brock, Karen L., and Donald F. McCallum. "Zenkoji and Its Icon: A Study in Medieval Japanese Religious Art." Monumenta Nipponica 50, no. 3 (1995): 420. http://dx.doi.org/10.2307/2385564.

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47

Rosenfield, John, and Donald McCallum. "Zenkoji and Its Icon: A Study in Medieval Japanese Religious Art." Art Bulletin 77, no. 4 (December 1995): 676. http://dx.doi.org/10.2307/3046143.

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48

Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Abstract:
Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).
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Winfield, Pamela D. "State of the Fields: Recent Contributions to Japanese Art History and Religious Studies." Religious Studies Review 36, no. 3 (September 22, 2010): 199–205. http://dx.doi.org/10.1111/j.1748-0922.2010.01440.x.

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Tanabe, Willa Jane, Yutaka Mino, John M. Rosenfield, William H. Coaldrake, Samuel C. Morse, and Christine M. E. Guth. "The Great Eastern Temple: Treasures of Japanese Buddhist Art from Todai-Ji." Monumenta Nipponica 42, no. 3 (1987): 386. http://dx.doi.org/10.2307/2384944.

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