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Journal articles on the topic 'Japanese Art'
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1
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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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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Hiraki, Takato, Akitoshi Ito, Darius A. Spieth, and Naoya Takezawa. "How Did Japanese Investments Influence International Art Prices?" Journal of Financial and Quantitative Analysis 44, no. 6 (October 8, 2009): 1489–514. http://dx.doi.org/10.1017/s0022109009990366.
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AbstractWe test the luxury consumption hypothesis of Ait-Sahalia, Parker, and Yogo (2004), using a unique international art price, import/export flow, and stock market data set. We find that the demand for art by Japanese collectors is positively correlated with art prices and Japanese stock prices. This correlation is magnified during the “bubble period” of the Japanese economy (the mid-1980s to the early 1990s) and gains even further strength for works of art typically favored by Japanese collectors. Our results suggest that Japanese investors (or Japanese asset markets) indeed affect international art prices—especially during the bubble period and its aftermath.
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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.
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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 jewelry multinational company).
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Fischer, Felice. "Japanese Buddhist Art." Philadelphia Museum of Art Bulletin 87, no. 369 (1991): 1. http://dx.doi.org/10.2307/3795444.
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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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Hickey, Gary James. "Storytelling in Japanese Art." Asian Studies Review 36, no. 4 (December 2012): 559–60. http://dx.doi.org/10.1080/10357823.2012.740914.
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Bincsik, Monika. "European collectors and Japanese merchants of lacquer in ‘Old Japan’." Journal of the History of Collections 20, no. 2 (August 5, 2008): 217–36. http://dx.doi.org/10.1093/jhc/fhn013.
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Abstract During the Meiji period, following the opening of Japan's borders to foreign trade, not only did the Japanese lacquer trading system and the market undergo a marked change but so too did almost all the factors affecting collecting activities: the European reception of the aesthetics and history of Japanese lacquer art, the taste of the collectors, the structure of private collections, the systematization of museum collections, along with changes in the art canon in the second half of the nineteenth century. The patterns of collecting Japanese lacquer art in the second half of the nineteenth century cannot be understood in depth without discussing shortly its preliminaries in the seventeenth and eighteenth centuries, focusing also on the art historical reception of Japanese lacquer in Europe. Supplementary material relating to this article in the form of a list of dealers and distributors of lacquer in Japan during the Meiji period (1868–1912) is available online.
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Jiyoung, Kim. "Japanese Artists in Daegu Modern Art World and Korean Japanese Art Exchange." Journal of Korean Modern & Contemporary Art History 44 (December 31, 2022): 121–54. http://dx.doi.org/10.46834/jkmcah.2022.12.44.121.
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Bru, Ricard. "Marià Fortuny and Japanese Art." Journal of Japonisme 1, no. 2 (August 22, 2016): 155–85. http://dx.doi.org/10.1163/24054992-00012p01.
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Marià Fortuny, a painter in the forefront of the European avant-garde of the early 1870s, is also considered a key figure in the introduction of Japonisme in Spain and Italy. This study aims to offer a comprehensive analysis of Marià Fortuny’s links to Japanese art and the phenomenon of Japonisme. To this end, the article provides new information about Fortuny’s collection of Japanese art and considers the influence that these pieces had on the Catalan painter’s own work.
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Ozhoha-Maslovska, Alla. "Collections of Japanese Art in Ukraine." Intercultural Relations 3, no. 2(6) (February 16, 2020): 109–23. http://dx.doi.org/10.12797/rm.02.2019.06.06.
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The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collections of The Bohdan and Varvara Khanenko National Museum of Arts in Kyiv, Odessa Museum of Western and Oriental Arts, the Chinese Palace of “Zolochiv Castle” Museum-Reserve, as well as Kharkiv Art Museum are explored. Finally, modern tendencies in the collection of Japanese art in Ukraine are determined.
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Whitmore, Janet. "Japanomania! Japanese Art Goes Global." Journal of Japonisme 8, no. 2 (December 11, 2023): 125–40. http://dx.doi.org/10.1163/24054992-08020004.
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Silverman, Willa Z. "“The Most Passionate of All”." Journal of Japonisme 3, no. 1 (December 4, 2018): 1–51. http://dx.doi.org/10.1163/24054992-00031p01.
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Known primarily as a jeweler in the vanguard of Art nouveau and an important collector of the Impressionists, Henri Vever (1854-1942), as his private diaries make clear, was also a foremost connoisseur of Japanese art in fin-de-siècle France, “the most passionate of all,” to Edmond de Goncourt. Well-connected to networks of dealers, museum officials, publications, and sites of sociability such as the dîners japonais, Vever figures among the most prominent members of a second wave of Parisian enthusiasts of Japanese art, active from approximately 1880 to 1900. Under the tutelage of the Japanese art dealers Hayashi Tadamasa and Siegfried Bing and the fine art printer Charles Gillot, Vever constituted a renowned collection of not only Japanese prints but also other art objects previously disregarded by collectors. Vever’s multiple and intersecting identities as luxury craft producer, leading member of professional associations, art historian and critic, collector, and Republican mayor placed him at the forefront of efforts to legitimate the collection and appreciation of Japanese art in France. His diaries also underscore the connections between the worlds of Japanese and Impressionist art collectors, and between proponents of japonisme and Art nouveau. Further, they highlight the importance of the 1900 Paris Exposition universelle as a triumphant moment for japonisme in France, just as they signal the shift on the part of some japonisants, at the same time, from Japanese art towards the decorative arts of the Islamic world.
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Hetrick, Jay. "Machinic Animism in Japanese Contemporary Art." Deleuze and Guattari Studies 16, no. 4 (November 2022): 545–78. http://dx.doi.org/10.3366/dlgs.2022.0494.
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At the core of Félix Guattari’s ethico-aesthetic paradigm is a conception of subjectivity that somehow relies upon the notion of animism. Even though this apparently Romantic return to animism may seem vague and perhaps even naive, it forms the very framework that Guattari asks us to pass through, at least provisionally, in order to fully grasp his last project. I will therefore attempt to demystify this important concept theoretically before showing how the aesthetic machines of Japanese contemporary art – and more specifically, the conceptual art of Yoko Ono – stage one key aspect of Guattari’s animism: machinic heterogenesis. Guattari travelled to Japan many times in the years leading up to the publication of Chaosmosis and Japanese contemporary art allowed him to bolster some of its theoretical claims with concrete examples. I will argue that it is through the lens of Japanese contemporary art that Guattari’s ethico-aesthetic paradigm might propel us beyond the old-guard strategies of modernism. Just as we are asked to pass through a certain notion of animism to understand the relational onto-logic of Chaosmosis, Japanese contemporary art itself demands a similar conceptual framework in order to be disappropriated from an all-too-Western canon. To this end, I supplement Guattari’s work with speculative readings of Japanese philosophy.
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Clark, John. "Japanese Modern and Contemporary Art: An Art-Historical Field." Art History 41, no. 4 (September 2018): 766–71. http://dx.doi.org/10.1111/1467-8365.12393.
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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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Delank, Claudia. "The Painters of the Blaue Reiter and Japan." Journal of Japonisme 5, no. 1 (December 18, 2019): 71–91. http://dx.doi.org/10.1163/24054992-00051p03.
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Abstract Japonisme, like today’s Japanese pop culture, is a transcultural phenomenon. In the ‘classical phase of Japonisme’ individual artists were influenced by Japanese art (especially by ukiyo-e woodblock prints) and transcended thematic and compositional adaption: the confrontation with Japanese art sparked a creative process and led to new developments in art. Japonisme became not only an important medium in the development of modern western art, but also attested a cultural transcendence.
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Chu, Chao Chi. "Capturing the South Sea Mirage." Re:Locations - Journal of the Asia-Pacific World 3, no. 2 (August 25, 2020): 51–62. http://dx.doi.org/10.33137/relocations.v1i1.33506.
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Paul Jacoulet (1896–1960) is one of Japan’s most peculiar modern print artists, not only because of his identity as a French man but because of his profuse depictions of exotic natives from the South Sea islands. From the start of his artistic career, Jacoulet made several excursions to Japan’s recently acquired pacific colonies to record the people of Micronesia through drawing, which he published into colorful prints that showcase his iconic incorporation of both Western and traditional Japanese art. Scholars often described Jacoulet’s thematic interest as part of a larger trend of Japanese artists traveling overseas or the French artist’s personal fascination with Paul Gauguin’s travels to Tahiti. I argue, however, that the artist’s objective in his travels is to capture a disappearing culture that echos Japan’s own struggle with its evaporating culture in its transition into a modern colonial power. Even though Paul Jacoulet depicted various Asian- Pacific cultures within his prints, it was his South Sea series that especially resonated with his Japanese audiences as it portrayed the Pacific islands as a beautiful and simpler world that’s slowly fading away, conveying a sense of melancholy and nostalgia for a more colorful past for the Japanese. This paper combines art historical analysis with colonial studies to explore Japan’s cultural connection with its Micronesian colonies within the prints of Paul Jacoulet: how the artist purposefully incorporates Japanese artistic conventions in his portrayal of the South Sea that allows him to juxtapose two seemingly contrasting cultures and highlights the interactions between Japan and the South Seas as colonizer and colonized.
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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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MEZUR, KATHERINE. "Stranger Communities: Art Labour and BerlinerButoh." Theatre Research International 39, no. 3 (September 16, 2014): 217–32. http://dx.doi.org/10.1017/s0307883314000480.
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I examine the art labour of three Japanese womenbutohartists living and working internationally. They are foreign at home and abroad: when these artists return to Japan, they are erased from the current arts scene or they are cast as outsiders in a separate category from ‘Japanese artists’; they are also compelled to keep theirbutohdesignation in foreign places because it lends an exotic, economically viable Japanese-ness to their art labour. The artists complicate any simple outsider/resident status or national/cultural representation. They also take on an in-transit-ness, in which they are always on the move and always ‘at work’. I argue that their art-labour-under-duress amplifies their physical intensity, arising from interrelated pressures such as economic conditions and relationships withbutohand Japanese art labour practices. This art labour intensity sustains creativity and initiates a ‘stranger community’ that is a vital part of their radical art labour and survival.
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Akiyama, Hajime. "COVID-19 measures and the Japanese Constitution." F1000Research 10 (March 23, 2021): 230. http://dx.doi.org/10.12688/f1000research.50861.1.
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Since March 2020, the Act on Special Measures for Pandemic Influenza and New Infectious Diseases Preparedness and Response has been a significant statute in dealing with COVID-19 in Japan. The Act mandates requests and orders for business suspension and shortened business hours, as well as stay-at-home requests. Although there have been no penalties as of January 2021, these requests and orders limit freedom of movement and establishment, guaranteed rights under the Japanese Constitution. This article poses the following research question: “Does the Japanese Constitution allow measures against COVID-19 such as requests and orders for business suspension and shortened business hours, and stay-at-home requests?” It also asks: “Are measures with penalties allowed by the Constitution?” This paper introduces constitutional concepts that guarantee or limit individual freedom. Concepts that guarantee individual freedoms include freedom of establishment and movement. These freedoms derive from the constitutional values of freedom to choose one’s occupation and choose and change one’s residence (Art. 22) and the right to own or hold property (Art. 29). Concepts that limit individual freedom include the right to life (Art. 13), welfare rights and public health (Art. 25), and public welfare (Art. 13). Individual freedom that threatens right to life, welfare rights and public health, and public welfare may not be guaranteed. This paper argues that since measures against COVID-19 are considered public welfare, the Constitution allows the limiting of freedom of establishment and movement. Furthermore, from the perspectives of the right to life, welfare rights, and public health, the government is responsible for reducing the risk to life from COVID-19. It also argues that the Constitution permits measures with penalties, while proportionality needs to be considered.
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NASIR, Suraya Binti Md. "Understanding Manga as a “Style” through Essay Manga’s Multimodal Literacies：And Its Relations to the Discourse on “local art style” in Malaysian Comics." Border Crossings: The Journal of Japanese-Language Literature Studies 13, no. 1 (December 30, 2021): 61–74. http://dx.doi.org/10.22628/bcjjl.2021.13.1.61.
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The trans-cultural consumption of Japanese Manga in Malaysia has prompted a significant amount of manga-influenced local works. As an outcome, traces of Japanese Manga can be found through its iconic art styles, storytelling and Japanese culture in these works. While fans show the positive response for these manga-influenced local works, the artists’ community shows the opposite response, in particular, related to the representation of the “typical Japanese manga-style”, resulting in the idea that these artists are turning away from the “local art style” which has been pioneered by the predecessors. The sentiment of Japanese Manga as a “single art style” contributed to this misconception on what constitutes a Japanese manga identity. In which the researcher proposes the introduction of ‘Essay Manga’ (コミックエッセイ or エッセイマンガ) as a way to divert the attention of Japanese Manga’s art style, by shifting to the other attributes of Japanese Manga which is the story. Essay Manga is a manga work that describes the events that happened around the manga artist but without any specifications towards manga visual conventions. To illustrate the importance of story versus art style in Essay Manga, the characteristics, forms, examples are sketched out trough the works of Hosokawa Tenten and Azuma Hideo. A section on Malaysia “local art style” is also discussed and ties in with the discussion of Manga. Eventually, the study argues that Japanese Manga is not limited to visual representation; instead, it is accommodated by its engaging storytelling, thus justifying Essay Manga’s potential as a multimodal literacy works.
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Wagner, Malene. "Eastern Wind, Northern Sky." Journal of Japonisme 1, no. 1 (January 4, 2016): 41–65. http://dx.doi.org/10.1163/24054992-00011p04.
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Among countries like Germany, France and England, Denmark took part in the ‘japanomania’ that swept the West in the second half of the nineteenth and early twentieth centuries. Key figures in promoting Japanese art were art historian Karl Madsen and artist and museum director Pietro Krohn. Both played a significant role in trying to establish Denmark in the field of Japanese art on a par with serious international art collectors and connoisseurs. Their connections to Justus Brinckmann in Hamburg and Siegfried Bing in Paris enabled them to put on exhibitions that would introduce to a Danish audience a, so far, relatively unknown and ‘exotic’ art and culture. Often perceived in the West as expressing an innate understanding of nature, Japanese art became a source of inspiration for Danish artists and designers, such as Arnold Krog, who would create a synthesis between the Nordic and Japanese in his porcelain works.
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Chiu, Chao Chi. "‘Bodhisattva Bodies’: Early Twentieth Century Indian Influences on Modern Japanese Buddhist Art." Arts 13, no. 4 (June 30, 2024): 114. http://dx.doi.org/10.3390/arts13040114.
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The first decade of the twentieth century marked a turning point for Japanese Buddhism. With the introduction of Western academia, Buddhist scholars began to uncover the history of Buddhism, and through their efforts, they discovered India as the birthplace of Buddhism. As India began to grow in importance for Japanese Buddhist circles, one unexpected area to receive the most influence was Japanese Buddhist art, especially in the representation of human figures. Some artists began to insert Indian female figures into their art, not only to add a sense of exoticism but also to experiment with novel iconographies that might modernize Buddhist art. One example included the combination of Indian and Japanese female traits to create a culturally fluid figure that highlighted the cultural connection between Japan and India. Other artists were more attracted to “Indianizing” the Buddha in paintings to create more historically authentic art, drawing references from both Indian art and observations of local people. In this paper, I highlight how developments in Buddhist studies in Japan led to a re-establishment of Indo–Japanese relationships. Furthermore, I examine how the attraction towards India for Japanese artists motivated them to travel abroad and seek inspiration to modernize Buddhist art in Japan.
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Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization." Arts and the Market 8, no. 2 (October 1, 2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.
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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.
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Park, Hyesung. "Cultural Translation of Japanese Surrealist Art." Journal of Art Theory & Practice 26 (December 31, 2018): 105–34. http://dx.doi.org/10.15597/jksmi.25083538.2018.26.105.
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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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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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Dearlove, Des. "THE ART OF JAPANESE MANAGEMENT REVISITED." Business Strategy Review 22, no. 3 (August 28, 2011): 57–59. http://dx.doi.org/10.1111/j.1467-8616.2011.00775.x.
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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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Leontiades, Milton. "The Japanese Art of Managing Diversity." Journal of Business Strategy 12, no. 2 (February 1991): 30–36. http://dx.doi.org/10.1108/eb039400.
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Frențiu, Rodica, and Florina Ilis. "‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy." Eikon / Imago 10 (February 8, 2021): 311–22. http://dx.doi.org/10.5209/eiko.74154.
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The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation.
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Coman, Sonia. "Charles Lang Freer’s Japanese Ceramics." Journal of Japonisme 7, no. 2 (December 1, 2022): 95–122. http://dx.doi.org/10.1163/24054992-07020001.
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Abstract At the turn of the twentieth century through its first decades, in the context of an increasingly international and interconnected Japonisme, the collecting activity of Detroit-based industrialist Charles Lang Freer (1854–1919) in the area of Japanese ceramics epitomized a key transition from a collector’s individual taste to the collection’s role in the public discourse on Asian art. This essay traces this evolution by exploring Freer’s collecting patterns, the influence of his network of dealers and advisors, and his relationship with the art market. At the intersection of personal choice and public prominence, Freer’s Japanese ceramics became an instrument of legitimization for emerging canons of Japanese art.
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Pradittatsanee, Darin. "On a Path towards Forgiveness: Garden-Practices and Aesthetics of Engagement in Tan Twan Eng’s." MANUSYA: Journal of Humanities 25, no. 1 (June 9, 2022): 1–22. http://dx.doi.org/10.1163/26659077-25010001.
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Abstract This paper examines the human-nature relationship in the art of Japanese gardening in Tan Twan Eng’s The Garden of Evening Mists (2012). Drawing upon the aesthetics of Japanese gardening and theories of garden art, it argues that the novel advocates the complementarity of nature and human artifice in gardening. Japanese gardening which is related to the Taoist concept of yinyang and the Buddhist notion of impermanence, together with its principle of shakkei (borrowed landscape), suggests a combination of anthropocentric and ecocentric relationships with nature. Moreover, since Japanese aesthetics is interwoven with ways of living, the paper examines how the female protagonist’s apprenticeship to a Japanese gardener in the Cameron Highlands of Malaya gradually alters her mind and opens up ways of coping with her traumatic experience, during the Occupation, in a Japanese internment camp. It argues that gardening art, what art philosopher Arnold Berleant calls the “aesthetics of engagement,” and changing gardenscape induce the protagonist to comprehend impermanence, moral ambiguity and the complementary co-existence of memory and forgetting, all of which enable her to forgive the Japanese transgressors and to make peace with the past.
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Bincsik, Monika, Shinya Maezaki, and Kenji Hattori. "Digital archive project to catalogue exported Japanese decorative arts." International Journal of Humanities and Arts Computing 6, no. 1-2 (March 2012): 42–56. http://dx.doi.org/10.3366/ijhac.2012.0037.
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In Europe, Japanese ceramic and lacquer objects have been collected and used as interior decoration since the early seventeenth century. In the nineteenth century, the worldwide fashion for Japonisme generated an extensive trade in various Japanese decorative arts. Consequently, museums and private collections all over the world have rich holdings of Japanese decorative arts. Despite their popularity and profound influence on Western applied arts, the systematic research of Japanese decorative arts in Western collections is backward compared to the investigation of other art forms. It is actually difficult to gain access to the objects scattered in numerous collections or to achieve high-quality images, not to mention that there are only a few specialists capable of documenting the objects. Generally, that is why there are only very few online databases dedicated to decorative arts. The Art Research Centre, Ritsumeikan University (Kyoto, Japan), has developed databases of various Japanese cultural assets, tangible as well as intangible art forms and, based on the expertise in developing scholarly databases, has launched online image databases of three-dimensional art objects. The purpose of the project is to advance searchable, academic databases and to foster international cooperation between researchers and students of Japanese art by sharing high-quality images on the Web.
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ÖNEY, Dicle. "IMJIN SAVAŞI SONRASI KORELİ ÇÖMLEKÇİLERİN JAPON SERAMİK KÜLTÜRÜNE ETKİLERİ." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 43–56. http://dx.doi.org/10.31567/ssd.734.
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The Imjin War was fought between Japan and Korea between 1592 and 1598. The process that started with Japan's invasion of Korea resulted in the capture of skilled Korean craftsmen and about 800 Korean potters, among them, after the war. Captive Korean potters were settled in areas of western and southern Japan ruled by the Lords of the time. Korean potters, who have a deep-rooted ceramic tradition, developed ceramic production techniques in the Japanese regions where they were placed and became the creators of products such as Satsuma-yaki, Hagi and Karatsu ceramics, and Arita porcelain, which are known today as Japanese ceramics. As a result of the effects of Korean potters captured as a kind of war booty on Japanese ceramic art and culture, the Imjin War in the literature of ceramic art history; is called the “Tea Bowl War”, “The Pottery War” and the “Ceramic War”. In this study, a brief history of the Imjin War is given, the Korean ceramic tradition and culture, which reached its peak during the pre-war Joseon Dynasty, is evaluated through examples, and finally, technical and formal transformations and new formations in post-war Japanese ceramic production are examined. Keywords: Imjin War, Tea Bowl War, Pottery War, Korean Ceramics, Japanese Ceramics
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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 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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Sugai, Susumu, Yukio Yasuda, Shiro Shimizu, Makoto Sawada, Junko Tachibana, Susumu Konda, Hirohisa Kitada, Hiroko Nakaizumi, and Sadao Tsukada. "Dna autosensitivity in two japanese sisters." Arthritis & Rheumatism 33, no. 2 (February 1990): 287–92. http://dx.doi.org/10.1002/art.1780330221.
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Oh, Younjung. "Oriental Taste in Imperial Japan: The Exhibition and Sale of Asian Art and Artifacts by Japanese Department Stores from the 1920s through the Early 1940s." Journal of Asian Studies 78, no. 1 (February 2019): 45–74. http://dx.doi.org/10.1017/s0021911818002498.
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From the 1920s to the early 1940s, Japanese department stores provided Japanese urban middle-class households with art and artifacts from China, Korea, Taiwan, and Southeast Asia. The department stores not merely sold art and artifacts from Japan's Asian neighbors but also promoted the cultural confidence to appreciate and collect them. At the same time, aspiring middle-class customers satisfied their desire to emulate the historical elite's taste for Chinese and other Asian objects by shopping at the department stores. The aesthetic consumption of Asian art and artifacts formulated a privileged position for Japan in the imperial order and presented the new middle class with the cultural capital vital to the negotiation of its social status. This article examines the ways in which department stores marketed “tōyō shumi” (Oriental taste), which played a significant role in the formation of identity for both the imperial state and the new middle class in 1920s and 1930s Japan.
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Chen, Kehan, and Jiamu Xu. "Analyzing the Characteristics of Buddhist Art in Japans Asuka Period: A Case Study of Horyu-ji Temple." Communications in Humanities Research 20, no. 1 (December 7, 2023): 76–80. http://dx.doi.org/10.54254/2753-7064/20/20231294.
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In the 6th century AD, Buddhism was introduced to Japan from China through the kingdoms of Baekje, Silla, and Goguryeo. Concurrently, the distinctive artistic styles of the Northern and Southern Dynasties of China, which combined traditional Chinese elements with influences from the Western Regions, also made their way into Japan. This had a profound impact on the development of Buddhist art during the Asuka period, establishing itself as a dominant force in Japanese cultural aesthetics. The artistry of the Asuka period, with its classical charm and exquisite craftsmanship, continues to be admired today. This paper takes Horyu-ji Temple as a case study to explore the characteristics of Buddhist art in Japans Asuka period and the influence of Chinese culture on it. The research primarily focuses on three aspects: the architecture of Horyu-ji Temple, the sculptural representations of Buddha, and the paintings. As an emblematic representation of early Buddhist art in Japan, Horyu-ji Temple also stands as a significant testament to the influence of Chinese culture on Japanese art, contributing significantly to the cultural development of Japan.
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Petrova, Olga. "Japan: Travel notes." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 18–24. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283114.
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The article covers some of the most prominent cultural landmarks of central Japan. Nara, Kyoto, Osaka, and their suburbs and nearest region were the foundation and all the fundamental principles of Japanese architecture and art, in particular the art of calligraphy, ceramics, red lacquer painting, and the famous Japanese weaponry. Nara became Japan’s first permanent capital in 710 (by the order of Empress Gemmei), a 72-year period in Japanese history known as the “Nara Age.” It is noted that Buddhism, and later Zen Buddhism, first came to this territory from China. For twelve centuries, Buddhist art was considered a “Japanese classic.” On the territory of the Nara temple complex, one can observe the organic coexistence of ancient Shintoism and Buddhism adapted to the consciousness of the Japanese. In the central region, a revered archaeological site is the underground structure of Isi-Butai, which dates to the ancient Asuka period (538–645). Despite many years of research of this attraction, the so-called “stone stage”, the water pipe laid in the dungeon, other details remain mysterious (about their origin) and are of keen interest to archaeologists. The paper also provides information about the Horyuji architectural ensemble (607–623). The focus is on the personality and educational role of Prince Shyotoku, who succeeded Empress Hashihito no Anahobe, the prince’s mother. The Chugudi temple (Ikaruga’s old palace) was dedicated by Shōtoku to his mother’s memory. Now there are only a few stones from this temple. Information is provided about the sculptural masterpiece of the Asuka era—the statue (national treasure) Nyoirin Kannon Bosatsu, which is one of the most poetic sculptures in Japanese plastic. Special attention is paid to the embroidered sacred banner Tenjukoku Shūchō Mandala depicting the “Land of Heavenly Longevity.” The fabric is considered the oldest embroidery in Japan.
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Došen, Ana. "Silent Bodies: Japanese taciturnity and image thinking." Issues in Ethnology and Anthropology 12, no. 1 (March 31, 2017): 113. http://dx.doi.org/10.21301/eap.v12i1.5.
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A nonverbal transmission and an implicit way of communication are highly encouraged in Japanese society. The reason for this “silence prerogative” is often found in historical facts of lengthy feudal era or in ancient philosophies and religions such as Buddhism and Confucianism and their various concepts which privilege taciturn way of communication. Moreover, the unspoken comprehension is often complemented by the attitude which equates truthfulness with silence. This paper explores the silence as a communicative act in the domain of Japanese art, where the body takes over the place of the language. In traditional Japanese theatrical performance, such as noh, words are often inadequate to convey emotion and therefore the aesthetics of emptiness, understatement and abstraction is transcended by the masks with "nonmoving lips". Drawing on theoretical perspectives from both East and West, I argue that the silent bodies operate as deliberate and integral determinants of Japanese non-silent art forms – especially in cinema and theatre. In the Eastern thought, visual perception is fundamental in cognition of the world, whereas auditory discernment is secondary to "image-thinking" (Yuasa). Accustomed to taciturnity, Japanese audience effectively corresponds to the performance and "completes" it in silence.
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Park, Seiyeon. "Ideas and Aesthetics of Yoshio Takahashi, a Modern Japanese Tea Artist : Focusing on TaishomeikiKan and KinseiDouguIdousi." Korean Tea Society 30, no. 1 (March 30, 2024): 11–21. http://dx.doi.org/10.29225/jkts.2024.30.1.11.
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Takahashi Yoshio's position in Japan's modern tea ceremony is important. TaishomeikiKan and KinseiDouguIdousi, the masterpieces of his compilation of Japanese tea utensils at the time, have an important position in both tea utensils and art. After the Meiji Restoration, Japan had a strong tendency to break off the old practice and pursue practicality. Art was also dealt with from a practical point of view. Takahashi Yoshio', a student of Fukuzawa Yukichi, a strong enlightenment theorist of Japan, took the lead in the modernization of Japan more than anyone else. When it comes to the tea ceremony, however, it is recognized as a unique Japanese tradition that must be observed. Nevertheless, emphasizing the financial and political utility of the tea ceremony and utensils helps match the modern and traditional tea ceremony of the Meiji Restoration.
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Guth, Christine M. E. "From Book to Film." Journal of Japonisme 6, no. 1 (January 22, 2021): 1–26. http://dx.doi.org/10.1163/24054992-06010001.
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Abstract Mary McNeil Fenollosa’s 1906 novel The Dragon Painter and its 1919 filmic adaptation sit at the intersection of American literary, art, and film history. Simultaneously personal and political, each is a product of its time and place. Together, they tell a story about changing (and unchanging) attitudes that were constituents of the complex and often contradictory history of the reception of Japanese culture and people in the United States. The novel draws on stereotypes of Japan as a primitive country of innately artistic people that at the time of its publication had been made familiar through art and literature. The silent film, produced in Hollywood, by and co-starring Sessue Hayakawa and his wife Tsuru Aoki, expanded and complicated the modes of visualizing Japan by featuring a Japanese couple in starring roles. This article addresses the relationship between the novel, an allegory of Japanese cultural loss and renewal, and the film, a romance inflected with American concerns about race, drawing particular attention to gender and Japanism in their reception and interpretation.
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Михайлова, Р. Д., О. В. Вишневська, and С. В. Ясько. "ТРАДИЦІЇ ЯПОНСЬКОГО САДОВО-ПАРКОВОГО МИСТЕЦТВА В УМОВАХ СУЧАСНОГО МІСТА (НА ПРИКЛАДІ КИЄВА)." Art and Design, no. 4 (February 15, 2021): 149–59. http://dx.doi.org/10.30857/2617-0272.2020.4.12.
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The purpose of the article is to analyze the Japanese art of gardening in its tangible and intangible dimensions. The phenomenon of landscape art is considered in the context of the values of authenticity, typology and its aesthetic value in the city. Methodology.The research uses general scientific methods of analysis; comparative method, typological systematization, historical-chronological method, methods of art analysis. The results. To clarify the essence of the Japanese gardening art phenomenon, this work presents the history and conditions of its origin, its stages of development, as well as the current state. Also, typical garden and park architectural and planning solutions, based on traditional Japanese designs and most often used in the arrangement of parks and gardens, were revealed. Various models of a Japanese park/garden and its temporary transformations in an urban environment were considered; as well as options for design architectural and spatial solutions, most common in modern landscape art. A variant of the design solution for the Kyoto park in Kyiv was revealed, among other things. As a result, a general picture of the current level of development of the Japanese garden park was formed, and its features as an art and design object were emphasized. The scientific novelty of the work is to study the Japanese tradition of landscaping in modern cities and to identify objective approaches to determining its landscape-spatial and artistic elements, taking into account specific varieties on the example of Kyoto Park in Kyiv. Practical significance. Scientific research of the history, traditions and types of formation of a Japanese park / garden in a modern city can be used in architectural and spatial landscape solutions to create specific patterns with expressive artistic features.
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Miller, Tyrus. "Bachelor Japanists: Japanese Aesthetics and Western Masculinities – Christopher REED." Artists, Aesthetics, and Artworks from, and in conversation with, Japan - Part 2, no. 9 (December 20, 2020): 91–94. http://dx.doi.org/10.32926/2020.9.r.tyr.bache.
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Bachelor Japanists offers readers an engaging and richly narrated look at Western “Japanism” of the 19th and 20th century—scholarly, collectionist, and creative engagements with Japanese culture, religion, art, and aesthetics—which, Christopher Reed argues, Western individuals and coteries used to construct queer “bachelor” identities, both male and female, eschewing marriage and evading the domestic norms of their day. The term bachelor, Reed underscores, is not [...]
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Couto Duarte, João Miguel. "The Rediscovery of Japan: The Critical Reception of Japanese Architecture in Portugal after the Opening of Japan to the West." Athens Journal of Architecture 9, no. 1 (December 27, 2022): 55–82. http://dx.doi.org/10.30958/aja.9-1-3.
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The opening of Japanese ports to the West in 1854 enabled the rediscovery by the rest of the world of Japan as a country, which, until then and throughout the more than two centuries of the Sakoku or closed country period, had maintained an isolationist policy in relation to the outside world. This opening up allowed for contact with Japanese art, including architecture, which was progressively absorbed by Western art, giving rise to Japonisme. Portugal was receptive to Japonisme, even if that receptiveness was motivated more by a taste for the exotic than genuine interest in the values of Japanese art. Even though its influence on Portuguese architecture was practically zero, Japanese architecture was divulged in Portugal. The aim of this paper is to determine an initial understanding of the reception of Japanese architecture in Portuguese books and architecture-related magazines published in the late nineteenth and early twentieth centuries. The investigation is sustained in interpretative-historical research, and seeks to assess how the contact with Japanese architecture unfolded and also examine the reasons behind its dissemination in Portuguese publications. This assessment is preceded by a contextualisation that sets out to clarify the reception given to Japonisme in the Portuguese art scene.
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Yusen, Zhang. "Teaching art in the Japanese school system." OOO "Zhurnal "Voprosy Istorii" 2022, no. 12-2 (December 1, 2022): 170–77. http://dx.doi.org/10.31166/voprosyistorii202212statyi65.
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The article is devoted to the teaching practice of art in the framework of school education system in Japan. The topicality of the theme is determined by the fact that it is this stage of education that provides the foundations and understanding of art, forms creative thinking skills, primary professional skills in certain areas of art and craft. Systematization of existing data allows establishing the general specificity, principles and approaches to teaching art in Japanese schools.
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Ravn Borggreen, Gunhild. "Transkulturel kunsthistorie. Om epistemologi og appropriation af japansk kunst i Danmark." Periskop – Forum for kunsthistorisk debat, no. 27 (June 15, 2022): 16–35. http://dx.doi.org/10.7146/periskop.v2022i27.133727.
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The article discusses transcultural art history with Danish examples about Japanese art. This includes an introduction to the concept of transculturation, and how the concept is used in art history research. The core of the argument concerns two interrelated aspects of Danish art historiography: the role of ethnography and the myth of modernism as a Western phenomenon. For the first of these aspects, I analyse the only existing Japanese art history in Danish language, published in 1885. For the other aspect, I analyse recent interpretations of the Danish painter Anna Ancher and her alleged use of formal elements from Japanese woodblock prints. I thereby wish to connect the theoretical issues of transculturation with analyses of transformative and constituent exchange of objects, phenomena and ideas, and point out the potential of the concept of transculturation as both theory and method. An investigation of transcultural connections between Japan and Denmark will contribute to writing a new art history on global interactions.
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Belozyorov, V. V. "Exhibitions of Japanese children’s drawings in the USSR: Depicting Japan, showing the world." Japanese Studies in Russia, no. 1 (April 11, 2023): 27–45. http://dx.doi.org/10.55105/2500-2872-2023-1-27-45.
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The article is devoted to the history of exhibitions of Japanese children’s drawings in the Soviet Union in 1920s – 1980s, as well as to the critical interpretation and perception by the Soviet audience of the artistic works of Japanese children. The importance of such events can be seen not only in the artistic value of the exposition material, but also in the influence of the expositions on the image of Japan in mass consciousness.The material is devoted to key exhibition projects related to the presentation of Japanese children’s art, in particular, the “Exhibition of Children’s Books and Children’s Art of Japan” in 1928, as well as a series of international exhibitions “I See the World,” held in the USSR since the late 1960s. The greatest attention is paid to the peculiarities of Soviet art criticism towards Japanese children’s drawing in the pre-war and post-war period, as well as the influence of Soviet ideology on the interpretation of children’s art from Japan.The author comes to the conclusion that the approach to the exhibitions was characterized by ideological indoctrination, as well as certain stereotypes about Japan, which created a request for exoticization of the creative products of the Japanese children. During the initial period of the Russian-Japanese cultural ties, despite the controversial nature of the Soviet art criticism of Japanese children’s drawings, the exhibition had substantial importance for the cultural ties of the two countries. In the post-war period, not only mono- national exhibitions, but also large projects involving multiple countries drew attention to various creative works of Japanese children. Since the early 1990s, the past importance of such exhibitions as an important element of cultural exchange receded, which is also true for the present times, despite the episodic exhibition projects of this sort in various regions of Russia. The “propaganda” component of children’s drawings faded. It is, however, regrettable that such exhibitions stopped attracting public attention due to the lack of interest of the media to these initiatives, as well as of systematic study of the works of Japanese children from the point of view of art studies and psychology.The article is based on documents, many of which are being introduced into scientific circulation for the first time, from the following archives: the State Archive of the Russian Federation (GARF), the Russian State Archive of Literature and Art (RGALI), the Central State Archive of St. Petersburg.