Dissertations / Theses: 'Japanese Art'

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Igarashi, Yoko. "Japanese Poetry in Western Art Song." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12426.

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Thesis (D.M.A.)--Boston University
Western art songs written on Japanese poems, Tanka, appeared in the early twentieth century as a late manifestation of Japonisme, the Japanese influence on Western art and music. The songs discussed in this dissertation include Japanisches Regenlied (1909) by Joseph Marx, Three Japanese Lyrics (1912-13) by Igor Stravinsky, Petits Poi!mes Japonais (1919) by Francesco Santoliquido, and Romances on Texts by Japanese Poets (1928-32) by Dmitri Shostakovich. Japonisme emerged as a significant movement in late-nineteenth-century Western art when Japanese artworks were first exported to Europe. Under the influence of these works, Western painters soon adopted Japanese techniques especially from traditional wood-block prints (Ukiyo-e). The appreciation of Japanese art and culture eventually emerged in Western music as a part of Orientalism and exoticism, first in opera, then in Debussy's music, and lastly in art songs. The Japanese poems used in Western art songs examined here are most commonly referred to as Tanka (a short poem), a genre that flourished between the third and tenth centuries. Because of the unique characteristics of the Japanese language, translating Japanese poems into European languages requires a certain imagination. The purpose of this dissertation is to explore the relationship between the original Japanese poems and their translations into European languages, and to discuss their transformation. The introduction provides a brief overview of Japonisme in Western art in the late nineteenth century. Chapter One focuses on the basic elements of Japanese poetry in order to outline the characteristics unique to the Japanese language. Considering Japanese influence within the category of "Orientalism" and "Exoticism" in music, Chapter Two explores the evidence for Oriental and exotic influences on Western music. Chapter Three focuses more specifically on Japanese influences in Western music. A detailed study of poems and translations, and their relationship to music is the core focus of Chapter Four. Chapter Five concludes that Tanka vanished from Western art songs soon after the songs under consideration were composed.

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Ito, Hikoko. "The Japanese Consulate and the Japanese Cultural Centre." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951610.

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Thesis (M. Arch.)--University of Hong Kong, 1996.
Added title page title: Japanese cultural centre in Hong Kong. Includes special report study entitled: Semiotic meaning of Mezirushi in architecture. Includes bibliographical references.

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Clevenger, Kathleen. "The art of Japanese sagemono ensembles in metals." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935917.

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The primary objective of this creative project was the exploration of Japanese sagemono ensembles and the metal working techniques needed for their creation. Sagemono ensembles are hanging accessories worn by the Japanese men of the 16th through the early 20th centuries. The secondary objective was to design and construct four sagemono ensembles using both traditional Japanese themes and patterns along with more contemporary motifs which emerged from the artist's explorations of the original Japanese ensembles. This body of work required a variety of traditional metalsmithing techniques including: complex sheet constructions, photoetching, copper-plating and forming, inlay, and casting.
Department of Art

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Stanbury, N. "Japanese shakudo and shibuichi alloys." Thesis, Middlesex University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373433.

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Amano, Fumi. "Re-exploring my identity as a Japanese woman." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4846.

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This document contains reflections on my motivations and the personal decisions made in the realization of selected works leading up to and including my thesis exhibition "Voice". The following text shares the many and varied connections between my life and art-making. My issues in my personal relationships with others has spilled out from my heart and turned into these works. I'm continuously expressing the unsuccessful attempts we make at developing true bonds that bridge the gaps between people.

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Little, Lalaine Bangilan. "Made in Japan? questioning the collaborations underlying namban art /." Diss., Online access via UMI:, 2008.

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Shen, Lien Fan. "The pleasure and politics of viewing Japanese anime." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196179343.

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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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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.
published_or_final_version
Fine Arts
Master
Master of Philosophy

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Yoshida, Hisayo. "A Cross Cultural Analysis of Japanese Art Critical Writings and American Art Critical Writings." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408539349.

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

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

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Rugola, Patricia Frame. "Japanese Buddhist art in context : the Saikoku Kannon pilgrimage route." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261486365.

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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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Kramer, E. A. "Art, industry and design : the role of Japanese and Anglo-Japanese textiles in Victorian Britain, 1862-1900." Thesis, University of Manchester, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510198.

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This thesis employs the model of textile culture to illuminate the artistic interaction between Japan and Great Britain as well as the economic, cultural, political and gender issues underpinning this interaction between the years of 1862 and 1900. The chapters move beyond a stylistic study of Japanese and Anglo- Japanese textiles by considering them in relation to a variety of contexts and artistic processes, including international exhibitions; museum, educational and private collections; the domestic interior; travel; their representation in British painting and their inspiration in British textile design and manufacture. When possible, case studies of designers and artists who not only appropriated Japanese elements in their work, but also visited Japan, are called upon to determine the extent to which such an experience inspired their work as opposed to the degree to which these visitors imposed their preconceived ideas on Japanese art, people and culture, and compare travellers' reception of Japan to perceptions of Japan commonly held in Victorian Britain. A number of theories strongly inform this thesis, including material and visual culture, consumption, postcolonial, and gender theories. In considering the role of Japanese and Anglo-Japanese textiles in Victorian British art, design and industry, the first chapter looks at the exhibition and reception of Japanese textiles and clothing at the international exhibitions, beginning with the London 1862 Exhibition, and asks how these events shaped British perceptions of Japanese national identity and contributed to the feminisation of its culture. The second chapter demonstrates how these perceptions informed the representation of Japanese textiles and kimono in British painting as well as how these textiles stylistically inspired painting. The third chapter contrasts the ways in which Japanese textiles provided ideas for new designs to the ways in which designers produced Anlgo-Japanese patterns fitting Victorian consumers' ideas of Japan. The fourth chapter enhances this discussion by comparing the production of Anglo-Japanese textiles for the luxury to those affordable to middle class consumers. This chapter considers the role of textile manufacturing firms in disseminating interest in the Japanese style. The final chapter discusses how female consumers employed Japanese and Anglo-Japanese textiles in the decoration of the domestic interior and argues that when women and Japan became further involved in the masculine- or European-dominated world of commerce, women through their consumption and Japan through its production, the artistic value of Japanese decorative art and women's taste was depreciated

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Salel, Stephen Francis Tsuji Nobuo. "Retracting a diagnosis of madness : a reconsideration of Japanese eccentric art /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/6243.

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Lisica, Cindy. "Beyond consumption : the art and merchandise of a superflat generation." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5210/.

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This thesis investigates the impact of Superflat theory and practice of the artist and curator, Takashi Murakami. The thesis aims to analyse how contemporary transnational artistic activity functions via the work of Murakami and Superflat artists, including Chiho Aoshima and Aya Takano. From the blockbuster group exhibition, Super Flat, curated by Murakami, which debuted in the United States in 2001 at the Los Angeles Museum of Contemporary Art, to the 2007-2009 ©MURAKAMI retrospective traveling from Los Angeles to Brooklyn then Frankfurt to Bilbao, the synthesis of ideas is showing the way to unprecedented directions in contemporary art. This investigation also links Murakami’s work to that of American Pop artists Andy Warhol and Jeff Koons and explores how Superflat art functions within and contributes to the already distorted area between parallel structures, such as high and low, fine art and commercial production, or East and West. When peeling back the layers of Superflat, there is a rich, beautiful and violent history. Recognising the fusion of tradition and technology, my research explores how Superflat artists are achieving international success by engaging in multiple outlets of creative expression and collaboration in the continuing context of globalisation and a consumer-driven art market. Images of anxiety and destruction are disguised as playful and marketable characters, and three-dimensional animation figures become cultural icons. Superflat explores the simulated, sensuous, colourful and obsessive “realities” that we inhabit on a global scale and captures a twenty-first century aesthetic. With reference to the representation of violence and disaster in art and popular culture, contemporary Japan’s construction of national identity and the postwar “Americanization” of Japan, this thesis examines how the layering of ideas via cross-cultural exchange produces a new form of hybrid and hyper Pop art.

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Acres, Harley Blue. "Gender bending and comic books as art issues of appropriation, gender, and sexuality in Japanese art /." Birmingham, Ala. : University of Alabama at Birmingham, 2007. http://www.mhsl.uab.edu/dt/2007m/acres.pdf.

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Walker, Linda Jean Huffman. "Art From Nature." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1432.

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Seeing beauty in the simplest aspects of nature inspires me to create art as a testament to our world. Being raised on a farm in rural Virginia gave me an appreciation of a reverence for all life. The inherent forms along with color and value establish nature as the master of aesthetics. An early introduction to Japanese art showed me that all nature was worthy and significant as subjects for art. Using materials derived from nature, cotton, linen, wool, silk, adds a tactile quality that I believe elevates the enjoyment of art.

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Russell, Ginger Suzanne. ""Writing a Picture": Adolph Gottlieb's Rolling and Yoshihara Jiro's Red Circle on Black." VCU Scholars Compass, 1995. http://scholarscompass.vcu.edu/etd/3673.

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Calligraphy and calligraphic elements in abstract art demonstrate the differences between Japanese and American approaches to abstraction. An examination of the use of calligraphy in Japanese art can reveal how its historic tradition in Japan lends depth and meaning to an image, which is not effectively possible for American artists using the same forms. These differences descend from a Japanese writing system that developed as abstracted images in themselves. Though the Western tradition of Abstract Expressionism art sought to make the experience of painting purely visual without the aid of narrative, explanation, or text, both American and Japanese artists used calligraphic forms. In a word and image analysis, this thesis demonstrates how these calligraphic forms can reveal layers of meaning within their appropriate cultural context. Reconciling calligraphy with abstract art presents the conflict of East meeting West in a new form.

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Preston, Jennifer Louise. "Nishikawa Sukenobu : the engagement of popular art in socio-political discourse." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/25578/.

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Nishikawa Sukenobu was a popular artist working in Kyoto in the first half of the eighteenth century. He was principally known as the author of popular 'ehon', or illustrated books. Between 1710 and 1722, he published some fifty erotic works, including a work detailing sexual mores at court which Baba Bunkô, amongst others, believed responsible for prompting the ban on erotica that came with the Kyôhô reform package of 1722. Thereafter, he produced works generally categorized as 'fûzoku ehon': versions of canonical texts, poems and riddles, executed in a contemporary idiom. This thesis focusses on the corpus of illustrated books from the early erotica of the 1710s to the posthumously published work of 1752. It contends that these works were political: that Sukenobu used first the medium of the erotic, then the image-text format of the children's book to articulate anti-bakufu and pro-imperialist sentiment. It explores allusions to the contemporary political landscape by reading the works against Edo and Kyoto 'machibure', contemporary diaries (such as 'Getsudô kenbunshû') and contemporary pamphlets ('rakusho'). It also places the ehon in the context of other contemporary literary production: for example the anti-Confucianist writings of the popular Shinto preacher Masuho Zankô and the 'ukiyozôshi' production of Ejima Kiseki (whose works were illustrated by Sukenobu). It corroborates these findings by citing evidence of the political sympathies of Sukenobu's collaborators: for example, the political writings of the Kyoto educationalist Nakamura Sankinshi; the works of the children's author and Confucian scholar Nakamura Rankin (aka Mizumoto Shinzô); and the fictional and 'kojitsu' writings of the Shinto scholar Tada Nanrei.

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Ito, Hikoko, and 伊藤彥子. "The Japanese Consulate and the Japanese Cultural Centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982840.

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Papp, Zilia English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Investigating the influence of Edo and Meiji period monster art on contemporary Japanese visual media." Publisher:University of New South Wales. English, Media, & Performing Arts, 2008. http://handle.unsw.edu.au/1959.4/41276.

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Abstract Japanese anime being an important part of modern and contemporary popular visual culture, its aesthetic merits, its roots in Japanese visual arts as well as its rich symbology derived from Japanese folkloristic, literary and religious themes are worth investigating. This research aims to track the visual links between Edo and Meiji period monster art (y??kai-ga) paintings and modern day anime by concentrating on the works of Edo and Meiji period painters and the post-war period animation and manga series Gegegeno Kitaro, created by Mizuki Shigeru. Some of the Japanese origins of anime and manga imagery can be traced back to the early 12th century Ch??j?? Giga animal scrolls, where comic art and narrative pictures first appear. However, more recent sources are found in woodblock prints of the late Edo period. These prints are the forerunners of manga in that dialogues appear with the image, generally no anatomical details are given nor are they in perspective, but often a mood is expressed in a cartoon-like manner. The visual rendering of y??kai (monsters) is a Japanese cultural phenomenon: y??kai paintings originate in the Muromachi period, and take up part of the visual arts of that era. The distinct monster (y??kai) imagery emerging in the late Edo to early Meiji periods is the focus of this research. Investigating the Gegegeno Kitaro series, the study pinpoints the visual roots of the animation characters in the context of y??kai folklore and Edo and Meiji period monster painting traditions. Being a very popular series consisting of numerous episodes broadcast from the 1960s to the present time, by analyzing the changing images related to the representation of monsters in the series the study documents the changes in the perception of monsters in this time period, while it reflects on the importance of Mizuki??s work in keeping visual traditions alive and educating new audiences about folklore by recasting y??kai imagery in modern day settings in an innovative way. Additionally, by analyzing and comparing character, set, costume and mask design, plot and storyline of y??kai-themed films, the study attempts to shed light on the roles the representations of y??kai have been assigned in post-war Japanese cinema.

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Garman, Keli L. "The Art of Designing a Meaningful Landscape through Storytelling." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32181.

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Meaning in the landscape is a concept that is receiving attention from many landscape architects asking the questions: how is meaning found in the landscape, or what makes a landscape meaningful? While there are many design processes that incorporate meaning into the design, it is the art of storytelling that the thesis investigates. The research for the thesis and a comparison analysis is performed on three texts, which explore meaning in the landscape. The three texts are Marc Treibâ s â Must Landscapes Mean?â ; Matthew Potteiger and Jamie Purintonâ s Landscape Narratives, and Mark Francis and Randolph T. Hester, Jr.â s The Meaning of Gardens: Idea, Place, and Action. Applying these approaches to case studies has resulted in the finding of common ideas between the three texts. The commonalities led to my position that storytelling can be used as an approach to design, and that landscapes designed as a story narrative can be meaningful. The design project investigated the strength of the position on a site in the West Potomac Park in Washington DC. The story for the project is a Japanese folktale that communicates the culture of Japan. The project is a case study that explores if the set of design principles within the storytelling approach can invest meaning into a landscape.
Master of Landscape Architecture

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Maeda, Tamaki. "Tomioka Tessai's narrative landscape : rethinking Sino-Japanese traditions /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6235.

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Steinberg, Marc A. "Emerging from flatness : Murakami Takashi and superflat aesthetics." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33929.

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This thesis is an examination of the concept and the term "superflat" as it is elaborated by the Japanese artist Murakami Takashi in his writings, in the exhibition he curated under the same name, and in his own art.
Its aim is to contextualize Murakami's project on one hand in terms of a similar attempt to define a Japanese national aesthetic in the early 20 th century, and on the other in terms of the 1990's tendency to return to Edo Japan to find the "origins" of Japan's postmodernity.
Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanese art he calls the superflat. This examination of Murakami's art permits the formulation of an aesthetics of Japanese contemporary art and animation even as it will afford an understanding of the "cultural logic" of the digital age that informs Murakami's argument.
Questions important to this project are: Is the articulation of a local aesthetics possible in this globalizing age? What are the aesthetic traits of the digital age? How should the superflat---as both idea and project---be interpreted?

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Damian, Michelle Rodgers Bradley. "Archaeology through Art: Japanese Vernacular Craft in Late Edo-Period Woodblock Prints." [Greenville, N.C.] : East Carolina University, 2010. http://hdl.handle.net/10342/2738.

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Spencer, Elizabeth. "The spirit of composite construction Japanese Kesa at the Cincinnati Art Museum /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179328843.

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POTTER, Simon. "Publicly Displayed Maps in Chikusa-ku, Nagoya: Samples of Japanese Cartographic Art." 名古屋大学大学院国際言語文化研究科, 2007. http://hdl.handle.net/2237/10088.

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Shimada, Yoshiko. "Gendaishicho-sha Bigakko : undercurrents in Japanese art and politics from 1960-1975." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/34676/.

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This thesis investigates the explicit interconnection of radical art and politics in Japan in the 1960s and early 1970s through an in-depth study of the alternative art school Gendaishicho-sha Bigakko (1969-75). Founded in 1969 in Tokyo in the aftermath of the student movement by the radical publishing company Gendaishicho¬sha, Bígakko was the brainchild of the director Ishii Kyoji, the editor Kawani Hiroshi, and art critic Imaizumi Yoshihiko. Although some of the most important Japanese artists of the 1960s such as Nakanishi Natsuyuki and Akasegawa Genpei (of Hi Red Center), the painters Nakamura Hiroshi and Kikuhata Mokuma (of Kyushu-ha), and Matsuzawa Yutaka - who is regarded as a forerunner of Japanese Conceptualism - were among the teachers there, this is the first detailed study of Bigakko. Based upon extensive primary research, including interviews with the founders, administrators, teachers and students, and the recovery of significant original material from several personal archives, I establish and assess both the school's significance in the history of Japanese art and the part it played in the country' s socio-political history, which have hitherto been largely ignored. As part of the re-construction of Bigakko's history and teaching methods, the PhD includes practice based components: a visual chronology of Gendaishicho-sha Bigakko as a supplement to the thesis ; the documentation of my-re-enactments of Nakanishi Natsuyuki's drawing class exercises at Kyoto Art Center in 2010, at Bigakkö in 2011, and in London in 2012, and documentation of two exhibitions I curated and installed : the Bigakko section of the 'Anti-Academy' exhibition (realized between Novomber 2013 and January 2014 at the John Hansard Gallery in Southampton, UK) and 'World Uprising'(April 2014 at Bunpodo Gallery, Tokyo), an exhibition of mail art originally conceived and realized by Matsuzawa Yutaka and his Final Art Thoughts workshop at Bigakko in 1971- 1973. This includes the documentation of Matsuzawa's 'Psy Room' at Suwa, Nagano. Through this body of PhD research, I argue that the various experiments conducted by the artists/teachers at Bigakko - with their emphasis on the revival of handwork and communal, physical experience - had the potential to bring about the new artistic language for communication and changes. Although the Bigakko experiment was prematurely terminated in 1975, I propose that the fundamental questions it raised are still relevant today, and their notion of embracing contradictions presents an important agency in confronting the stagnation that Japanese society faces today.

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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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Goto, Akiko. "Yoichi Hiraoka: His Artistic Life and His Influence on the Art of Xylophone Performance." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500161/.

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Yoichi Hiraoka was an amazing Japanese xylophone player who had significant influence on the development of the xylophone as a solo instrument. The purpose of this dissertation is to collect and record evidence of Mr. Hiraoka, to examine his distinguished efforts to promote the xylophone, to investigate his influences on keyboard percussion literature, and to contribute to the development of the art of keyboard percussion performance as a whole. This dissertation addresses Yoichi Hiraoka’s artistic life, his commissioned pieces, and his influence on the art of xylophone performance. Analyses of two of his most influential commissioned works, Alan Hovhaness’ Fantasy on Japanese Wood Prints and Toshiro Mayuzumi’s Concertino for Xylophone Solo and Orchestra, are also included to illustrate the art of the xylophone, and to explain why Hiraoka did not play all of his commissioned works.

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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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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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Nakayama, Tomoko. "The post-war Japanese avant-garde movements : the distinct phase of anti-art 1954-1970 : Gutai, Neo-Dada, Hi Red Centre and Mono-Ha /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmn1637.pdf.

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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.
Coursework. "November 2004" Bibliography: leaves 118-128.

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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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Hockley, Allen F. "Harunobu : an Ukiyo-e artist who experimented with Western- style art." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28070.

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From the beginning of serious art historical study of Japanese woodblock prints or Ukiyo-e, the artist Suzuki Harunobu (1725-1770) has been accorded a prominent position in the development of that art form primarily because of his role in the creation of the first full colour prints. This, and his particular conception of feminine beauty which he chose to illustrate most often as the main subject of his art, made him the dominant artist of his generation. The popularity he achieved during his lifetime was monumental, but he met with a premature and untimely death. Shortly after his death Shiba Kōkan (1747-1818), a young artist just beginning his career, made forgeries of Harunobu's prints and later admitted to doing so in his autobiography. Based on Kōkan's confession, there developed among art historians and connoisseurs, a long running, at times heated and, as yet, unresolved debate focussed upon determining which of Harunobu's prints are in fact forgeries. Because Kōkan eventually acquired fame as an artist who experimented with styles and techniques newly imported to Japan from Europe, Harunobu's prints that contain linear perspective, one such Western technique, have traditionally and without question been designated as forgeries. To this author, making such an attribution based on this criterion seems somewhat illogical. Why would Kōkan introduce something foreign to Harunobu's style into prints he intended to pass off as Harunobu's originals? The simplest resolution to this quandary is to assume that Harunobu must have also been experimenting with imported European styles. Based on this premise, this thesis introduces literary and visual evidence linking Harunobu to a number of sources of European-style art. Much of this evidence was uncovered through a re-examination of Harunobu's prints and literary accounts of his life in accordance with the social and artistic context in which he worked. The prints and the documents which this thesis discusses have long been known to art historians. They simply needed to be reworked to support this premise. This thesis does, however, introduce one print from the collection of the Oregon Art Institute which seems to have been overlooked by other scholars. It provides a clear example of Harunobu's Western-style art and through visual analysis of it, its sources can be identified among the Western-style megane-e of Maruyama ōkyo ( 1733-1795). The concluding section of this thesis examines the consequences of this evidence. Two of the so-called forgeries are reattributed to Harunobu and his prints as a whole are recast within the tradition of Western-style art in Japan.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

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Somers, Seán Gary Adam. "Yeats and the art of ancestral recall : twilight, modernity, and Irish-Japanese interculturality." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/5623.

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This dissertation examines the processes through which the works of W. B. Yeats, as representative of Irish folklore generally, became absorbed into Japanese modernism. The Celtic Twilight, as one example, had enormous appeal to Japanese literary figures, including Akutagawa Ryûnosuke, Yanagita Kunio, and Tanizaki Jun'ichirô, particularly in his famed essay, In 'ei raison [In Praise of Shadows]. Such authors were intrigued by Yeats's evocations of the ancestral as a phantasmal resonance through which cultural memories, and social histories, could be accessed and questioned. Overall, the notion of Keruto [the Celt] to the Japanese imagination provided alternative case studies of European-ness, ones that challenged developing prejudices in Japan at that time. Gaelic languages and cultures, geographically and sociologically marginal, embodied the tensions between an ancestral past and a non-descript fliture in a provocative way. Yeats's poetry and prose, exploring this growing fissure in modernity, made frequent use of what Marilyn Ivy terms the discourses of the vanishing. And, such ancestral vanishings, recognisable in many Japanese texts as both poetic allegory and social reality, draw much of their conceptualization from Irish examples. Previous readings of Yeats's connections to Japan have focused on a sense of his bungling reinvention of no drama: an Orientalist example of mishandled Asian-European unidirectional discourse. However, by considering the intercultural dialogue taking place, I wish to offer more complex readings, ones that account for the enormous scholarly activity between Ireland and Japan at that time. Yeats's no (a term he rarely used himself) can best be understood in comparison to his Japanese contemporaries. For example, Yeats's drama, in terms of style and content, influenced the works of Izumi Kyôka's neo-nô [kindai no]. As in Yeats, the ancestral is invoked, and interrogated, through the chronotopic performance of neo-nô. Cultural memory, engaged through performative necromancy, becomes a dynamic twilight [tasogare], through which recovery and re-narratavisation is possible. I contend throughout that a fresh sense of a shared world literature between Ireland and Japan was not the result of isolated translations, nor Orientalist/Occidentalist dabblings. Intercultural artistic networks consciously developed between scholars and poets, ones that facilitated the exchange of knowledge during an historical period of rapid transition. At stake for Ireland and Japan were contentious, problematic issues. These include the construction of cultural identity, the ethics of translation, anachronism as strategy, and the crisis of heritage in the face of modernisation. Intercultural textuality, however, provided a method for investigating the dissolution of cultural memory into the nebulous, vanishing traces of the ancestral twilight.

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Gartside, Philip Oswin. "The call of beauty across faiths : a Christian theological engagement with Japanese art." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/3351/.

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This thesis explores the significance for Christians of the attractiveness of Japanese art, seeking to be true both to its distinctive religio-aesthetic milieu and to Christian believing. Its concern is for faithful,open hearted living in a plural world. Recognising in the trust which the beauty of the art evokes the operation of the Holy Spirit in redemption,it asks how we may hold together the person of Jesus Christ and the diverse meanings of the faiths. In answer it understands, from our life in God as ever extending& and necessarily hidden from us, a plenitude of meaning. Drawing on Ben Quash’s presentation of Christian living as enhanced theo dramatics of unframed reading of events with Christ, it offers a practice of juxtaposition. Examples are given from rock gardens, nō stage and shrine mandalas. More than dialectics, this is creative poiesis, illustrated by framing the metaphor ‘Christ is ma, where ma is that space marked by trace figuring emptiness, seen in these Japanese arts. The metaphor opens our eyes to evanescence, suchness and nothingness, and the faiths they articulate, as held by God within a field of loving trust. Such practice is dynamic and moral; ways are suggested in which it extends perspective, including in Christian performance of mission, dialogue and inculturation. Hence the thesis argues for the continuing importance of experience of difference. This is understood by means of Mutō Kazuo’s Field of the Inversion of Polarities under the mediating sign of Christ crucified and risen. Difference ultimately derives from and speaks of the dissimilitude between the Persons of the Trinity, origin of God’s ever greater nature as love. The gap of meaning between incommensurate but compelling faiths is to be received as space given by God for growth in love, participant in the loving relations of the Persons of the Holy Trinity.

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Ferrell, Susanna S. "Pattern and Disorder: Anxiety and the Art of Yayoi Kusama." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/554.

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Yayoi Kusama is undoubtedly one of the most esteemed artists today, and yet she is continually written off as "crazy." Kusama's work draws not from insanity, but from her experiences with Obsessive Compulsive Disorder, and acts as a tool to both process and temper her obsessions and compulsions. In my own work, I reflect on the necessarily obsessive faculty of hand-drawn animation, in an effort to communicate the feeling of OCD.

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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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Lillehoj, Elizabeth Ann. "The art of Soga Chokuan and Nichokuan, two painters of sixteenth and seventeenth-century Japan." Ann Arbor : UMI, 1993. http://catalog.hathitrust.org/api/volumes/oclc/51344711.html.

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Byun, Eun-Jung. "Music and Oppression: Korean art song based on poetry from the Japanese Occupation Period (1910-1945)." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/27991.

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The first Korean art song was composed in 1922 during the period of Korean history that has now come to be known as the Japanese Occupation Period (1910-1945). This project focuses on art songs which were based on poetry written during the Japanese Occupation Period, and on the compositions of various Korean composers who integrated both western music and Korean poetry into a European-established genre that has existed for hundreds of years. Three poets: Jeong Ji-Yong (1902-1950?), Kim Sowol (1902-1934) and Yun Dong-Ju (1917-1945) who were all active during this period have been selected. Their poetry was set to music by thirty-nine Korean composers from different generations with the years of composition ranging between 1927 and 2017. Most art songs based on Jeong’s poetry were composed from 1933 and a significant number of Kim’s poems were set to music with Korean traditional music influences between 1937 and 1979. Yun was recognized as a poet posthumously, but his works are continually chosen by contemporary composers in Korea whose works display some of the traits of modern Korean art song compositions. Using the compositions based on poetry written under political oppression, this study will trace the development of the art song genre in Korea.

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Goda, Sachiyo. "An investigation into the Japanese notion of 'Ma' : practising sculpture within space-time dialogues." Thesis, Northumbria University, 2011. http://nrl.northumbria.ac.uk/4393/.

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The ancient Japanese space-time idea of ma has many aspects, not only in philosophical and artistic pursuits, but also in everyday life. Ma is difficult to pin down because it is an entirely relational concept and the word is only intelligible within our most subjective responses to temporal and spatial discontinuities: its key characteristic being a unity of experience across two fields of aesthetic encounter usually kept apart in the West. These subtle shifts of meaning and attribution within a single spatio-temporal domain have made ma difficult to adapt for Western purposes. Whereas the cultural critic Mark C. Taylor (1997) recognizes ma as the art of ‘spacing-timing’, the art historian James Elkins (2003) confines ma to our appreciation of negative spaces in the visual arts. Both fail to note the broader field of references used by the Japanese and my doctoral project was initiated as a response to the rich spatio-temporal ambiguity of the term and the subtle forms of dialogic awareness it can introduce into the everyday routines of a creative practitioner who is, like myself, from Japan. Because ma operates at so many levels, throughout this thesis I relate my discussion to historical and contemporary artists, performers, writers, film-makers, architects, gardeners, psychologists, philosophers and theologians.

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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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Kojima, Kaoru. "The image of Woman as a national icon in modern Japanese art; 1890s-1930s." Thesis, University of the Arts London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650322.

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Ryoki, Aoki. "Women and Noh : the historical development of Japanese Noh theatre as a masculine art." Thesis, SOAS, University of London, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767456.

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Lai, Kin-keung Edwin. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941 /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17593864.

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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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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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Compagnoni, Anna Giulia. "‘Ghosts and Spirits from the Tikotin Museum of Japanese Art’: proposta di traduzione e commento." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18825/.

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Questo elaborato ha lo scopo di tradurre alcuni estratti del libro ‘ghosts and spirits from the tikotin museum of japanese art’, edito da Jaron Borensztajn e edito da Leiden University Press nel 2012. Il libro si concentra sul collezionista tedesco Felix Tikotin, che ha passato la sua vita commerciando e collezionando opere d'arte giapponesi, tra cui stampe, statue e lacche. Il libro raccoglie inoltre decine di opere collezionate da Tikotin durante gli anni e donate successivamente al museo da lui fondato a Haifa, Israele, nel 1960: il Tikotin Museum of Japanese Art. L'elaborato contiene approfondimenti sul background storico e culturale del libro e sul tema dell'arte mitologica giapponese; contiente intoltre estratti tradotti dall'inglese provenienti da diverse sezioni del libro. Verrà infine offerto un commento, esponendo le teorie di traduzione che più hanno influenzato le soluzione adottate per i problemi traduttivi incontrati.

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Dissertations / Theses on the topic 'Japanese Art'

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