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Sfakiotaki, D. (Despina). "Analysis of movement in sequential space:perceiving the traditional Japanese tea and stroll garden." Doctoral thesis, University of Oulu, 2005. http://urn.fi/urn:isbn:9514276531.
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The research aims to investigate the spatiality of the sequential Japanese tea (roji) and stroll garden (kaiyûshiki), whose appearance reached its peak during the Feudal period in Japan (1573–1868), in relation to the perceiver's locomotion. The desire of that era to go beyond sensual beauty and to make a philosophical statement, led to the development of a garden where the moving participant perceives a series of successive fragmentary views. Such a concept of space, with the principle of successive observation, is a distinct feature of Japan, and can also be observed in urban design, architecture, painting and literature.
This research is about the necessity of incorporating movement in the design of gardens, as a prerequisite for fully perceiving space. It thereby shows how through analysing those two distinct types of sequential spaces, the Japanese tea and stroll gardens, one arrives at patterns of spatial configurations that encourage active participation on the subject's part. Emphasising the environment-person transaction, the research aims to study the structure and features of the Japanese tea and stroll gardens as sequential spaces, with reference to the affordance possibilities they provide for an individual, as developed by the late James J. Gibson. Although not confined solely to it, the analysis used at the core of this research, is based on Gibson's ecological approach and on Harry Heft's contribution to ecological psychology. The empirical part of the research uses a variety of gardens as examples, as well as the case studies of a model teagarden and the garden of Shisendô (situated in the city of Kyoto).
The research aims to acquire accounts of knowledge of techniques and spatial formations that do not ignore or minimise the central importance of the subject's movement, but on the contrary, fortify and take advantage of it. This body of knowledge can be an initial approach to designing sequential spaces in domains that lack the specific socio-cultural practices by showing some opportunities and potential affordances that every perceiver can pick up using his own background and cultural context.
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Tschumi, Christian Andre. "Mirei Shigemori 1896-1975: Modernizing the Japanese garden /." Zürich, 2004. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=15356.
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Raggett, Jill Yvonne. "The Japanese style Garden in the British Isles 1850-1950introduction application and significance." Thesis, University of York, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507565.
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Tschumi, Christian. "Studies of Mirei Shigemori's Approach to the Renewal of the Japanese Garden Culture." Kyoto University, 2004. http://hdl.handle.net/2433/147728.
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Kyoto University (京都大学)0048
新制・課程博士
博士(農学)
甲第10878号
農博第1384号
新制||農||887(附属図書館)
学位論文||H16||N3889(農学部図書室)
UT51-2004-G725
京都大学大学院農学研究科森林科学専攻
(主査)教授 森本 幸裕, 教授 増田 稔, 教授 樋口 忠彦
学位規則第4条第1項該当
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Carvalho, Guida Maria Gomes. "16th century images of Japanese garden art: analysis of the jesuit's texts published in Portugal." Master's thesis, ISA/UL, 2018. http://hdl.handle.net/10400.5/17814.
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Mestrado em Arquitetura Paisagista - Instituto Superior de AgronomiaThe dissertation theme focus on how the Portuguese Jesuit manuscripts describe Japanese gardens for the first time in Europe. This research belongs to a larger project led by Cristina Castel-Branco since 2012 and applied to cities and landscapes that have been described during the 16th century by the Portuguese Jesuits. The first Missionary group arrived in Japan in 1549 led by Saint Francis Xavier (1506-1552). During their stay (1549-1643), they wrote numerous letters to the remaining members of the Company of Jesus and a few books reporting the progression of the Japanese Mission. In these documents they described the country they saw and gave their opinion on the local daily practices. The data obtained for the research project was supplied by paragraphs of texts containing information on Japanese garden, cities and landscapes, found within these texts, which are the most relevant 16th century documents published in Portugal on the subject. The findings of the present work confirms that the Jesuits writings contain significant information on Japanese garden art and make it possible the comparison between the images found and the images of the 16th century Japanese garden produced in Japan. Garden art and theory was analysed to provide a background of how the gardens observed by the Jesuits were and had evolved trough time. The selected passages describe the gardens of the powerful personalities and institutions of the time. Some of these places have survived until the present day, and were visited for the sake of this project. They suggest that the defined programs that label the Japanese gardens of the sixteen century nowadays were more vast and flexible than what is generally acknowledge and may be a contribution for Japanese Garden Art
N/A
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Brezovský, Jindřich. "Konverze objektu dormitory na hostel a jeho nové řešení v Tomioka Silk Mill, Japonsko." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2012. http://www.nusl.cz/ntk/nusl-215849.
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Diploma thesis called “CONVERSION OF DORMITORY TO HOSTEL AND NEW DESIGN OF HOTEL, TOMIOKA SILK MILL JAPAN“ was elaborated according to the regulations in the form of architectural study. The topics of this thesis were two variants of possible conversion of accommodation for workwomen (dormitory). The partial assignment comprised solution to the arrangement of greenery in the atrium of the dormitory, and revitalization of plateau. The building is located in the premise of a former silk mill in the city Tomioka in the Gunma prefecture on the Honshu island in Japan. The conversion of the building for the novel purpose required replenishment of necessary facilities, and some building interventions to assure operation of the hostel. In both variants, partial adjustment of the original building was needed. However, all changes had to maintain proportions and volume of the building not to compromise the original concept of whole premise as well as the skyline of the city. The adjustments of the original building of dormitory consisted of a completion of the entrance portal including a foyer, and a reception with the base of operation. Large glass areas in combination with exposed concrete were used as construction materials. These materials were selected so that the new structures (monolithic ferroconcrete) are clearly distinguishable from original ones (wood). The Internal atrium was designed in the style of modern japan garden with various types of surfaces (vegetation – moss; mineral – gravel and stones). Variant 1 – the new constructions of the two facility buildings. Building A is washroom building, and building B is catering building with toilets. The volumes of individual objects were formed by simple prisms rotated by 30° a 60° against axis of dormitory. These volumes complied with dimensions of the original building. The building A protruded on the edge of the slope, and it was paneled with glass plates. The building B was glassed-in from the south, while the northern side was constructed from exposed concrete in a compact way. The building A was divided to two symmetric parts by a central wall for both structural and functional purposes. At the end of the building, there was an ofuro (swimming pool) providing views of the surrounding mountains. Typological solution of the building B included separate toilets with a mixed washroom, which were located in the northern part of the building. In the southern part, the space for catering was divided to an operational space, and a space for visitors by a dispensing counter. The building A was from reinforced concrete and was founded on the base plate. The central wall represented the main load-bearing structural element that prevents transverse breakage. The central wall was anchored into the ground with piles. The building B was also from reinforced concrete and was based on the strip foundations. Variant 2 – the extension was formed as a simple prism that complied with the rectangular system of the premise and dimensions of the original dormitory building. Employed materials of the new constructions were concrete and glass similarly to the other new extensions. To ensure intimate environment, the glass part of a façade was enclosed by a bamboo fence. This space was also used as a viewable green garden. The building was typologically divided to the parts for women and men. Both parts were equipped with ofuro. The building was monolithic ferroconcrete skeleton based on the footings.
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Pinto, Francisca Lailsa Ribeiro. "Entre flores de cerejeiras e ipês: o florescer do entre-lugar e da identidade cultural em O Jardim Japonês, de Ana Suzuki." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8263.
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This research conducts a study of the novel The Japanese Garden, of Brazilian Ana Suzuki, published in 1986, in order to verify the in-between where they mix different histories crossed by cultural identities in conflict. Based on the hypothesis that the mixed garden in the narrative, enables cultural assimilation meetings and resistance from Japanese immigrants and their descendants Japanese-Brazilians, the dissertation focuses on the hybrid space resulting from the diaspora meetings and simultaneously, the construction of the Japanese Garden of Yoneda character. To reflect on the cultural exchange between cherry blossoms and yellow trumpet trees, Japanese and Brazilian, that move and bloom the third bank, involved in conflict cultural situations of integration, draws on the theoretical foundation and critical concepts as in-between (Silviano Santiago), cultural identity (Stuart Hall), hybrid (Homi Bhabha), transculturation (Fernando Ortiz, Ángel Rama), and several other studies of the Japanese immigration to Brazil in order to point out elements of this common place that is Latin America.
Esta pesquisa realiza um estudo do romance O Jardim Japonês, da brasileira Ana Suzuki, publicado em 1986, com a finalidade de verificar o entre-lugar onde se mesclam distintas histórias, atravessado por identidades culturais em confronto. Com base na hipótese de que o jardim misto, na narrativa, possibilita encontros culturais de assimilação e resistência por parte dos imigrantes japoneses e seus descendentes nipo-brasileiros, a dissertação focaliza o espaço híbrido decorrente dos encontros da diáspora e, em simultâneo, a construção do jardim japonês da personagem Yoneda. Para refletir sobre as trocas culturais entre flores de cerejeira e ipês amarelos, japoneses e brasileiros, que se movimentam e florescem na terceira margem, envolvidos em conflitivas situações culturais de integração, vale-se da fundamentação teórica e crítica de conceitos como entre-lugar (Silviano Santiago), identidade cultural (Stuart Hall), hibridismo (Homi Bhabha), transculturação (Fernando Ortiz; Ángel Rama), e diversos outros estudos sobre a imigração japonesa para o Brasil com o objetivo de apontar elementos desse lugar comum que é a América Latina.
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Baker, Hazel Elizabeth. "The translation of Japanese gardens from their origins to New Zealand." Thesis, University of Canterbury. Humanities, 2010. http://hdl.handle.net/10092/4255.
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This thesis examines the connections between Japanese gardens, Modernism and Japanese-inspired gardens in New Zealand. The link between traditional Japanese gardens and Modernism is a familiar theme for scholars of architecture, design and landscape architecture. A less considered route of scholarship is the relationship between historical Japanese garden designs, Modernist-inspired gardens in Japan, and New Zealand garden design. A historical foundation provides a base on which to analyse any later changes or transmissions. By analysing the history of Japanese gardens and Modernism, through select key figures, one can also grasp their complexities and outline wider trends. Connecting these somewhat divergent entities is important due to the fact that these gardens represent a myriad of global translations. They represent the modernisation and globalisation of Japan and New Zealand as well as trends in New Zealand‟s artistic and cultural community. The success of the translation of Japanese traditions into New Zealand was due to, in part, the production of a regional idiom. New Zealand‟s Japanese-inspired gardens represent the integration of Japanese and New Zealand traditions, materials and ideas. The result is a hybrid garden, a garden which forms its own specific regional peculiarities which symbolises the many connections between Japan and New Zealand.
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Tsutsumi, Setsuko. "Kawabata Yasunari : interweaving the "old song of the East" and avant-garde techniques /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6657.
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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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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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Ferraz, Marcos Vieira [UNESP]. "Caracterização do jardim japonês de Ribeirão Preto - SP e germinação de sementes de pinheiros característicos do estilo." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/105167.
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O jardim japonês, embora muito usado no Brasil, é pouco estudado em todos os segmentos, seja a análise de composições distribuídas em todo o país, até aspectos ligados à produção de mudas. Desta forma, este trabalho teve como objetivo fazer uma análise do ponto de vista paisagístico do jardim japonês do Bosque/Zoo Municipal Fábio Barreto de Ribeirão Preto, SP, bem como avaliar o efeito da temperatura em luz alternada na germinação de sementes de Pinus tabuliformis Carrière, Pinus gerardiana Wall. ex D. Don e Pinus roxburghii Sarg., pinheiros muito usados neste estilo de jardim. No trabalho de análise do jardim japonês do Bosque/Zoo Municipal Fábio Barreto de Ribeirão Preto, SP foram levantados 362 indivíduos (arbóreos e arbustivos), distribuídos em 80 espécies, 69 gêneros e 41 famílias botânicas. A área estudada apresentou índice de Shannon-Weaver de biodiversidade de 3,48. Grande parte das plantas não são de origem asiática, descaracterizando o jardim. Alguns elementos como o pagode, a luminária de pedra, o monte Fuji e as pontes com a ilha no centro de um dos lagos estavam de acordo com a filosofia do jardim japonês, no entanto, outros como placas comemorativas, lixeiras e bancos de concreto estavam descaracterizados. Na pesquisa de opinião realizada para se conhecer o perfil do visitante e a importância do local para os entrevistados concluiu-se que a maioria possui ensino médio (42%) e é constituída de mulheres (52%) entre as idades de 41 e 60 anos (44%). A maioria (88%) desconhece os princípios que...
The Japanese Garden, although widely used in Brazil, is understudied in all segments, is the analysis of compositions distributed nationwide to aspects linked to the production of seedlings. Therefore, this study aimed to analyze the point of view of the landscaped Japanese garden in the Woods / Municipal Zoo Fabio Barreto de Ribeirão Preto, SP, and to evaluate the effect of temperature on alternate light on seed germination of Pinus tabuliformis Carrière Pinus gerardiana Wall. ex D. Don and Pinus roxburghii Sarg., Pine widely used in this style of garden. In the analytical work of the Japanese Garden in the Woods / Municipal Zoo Fabio Barreto de Ribeirão Preto, Brazil. Among the vegetable elements were collected 362 individuals (trees and shrubs), distributed in 80 species, 69 genera and 41 families. The study area presented index Shannon- Weaver biodiversity of 3.48. Much of the plants are not of Asian origin, mischaracterizing the garden. Some elements like the pagoda, a stone lamp, Mount Fuji and the bridges to the island in the center of one of the lakes were in keeping with the philosophy of the Japanese garden, however, as other commemorative plates, trash cans and concrete benches were uncharacterized. In the survey conducted to know the visitor profile and importance of local respondents concluded that most have high school (42%) and consists of women (52%) between the ages of 41 and 60 years (44%). The majority (88%) are unaware of the principles guiding the Japanese style garden. The garden is... (Complete abstract click electronic access below)
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Ferraz, Marcos Vieira. "Caracterização do jardim japonês de Ribeirão Preto - SP e germinação de sementes de pinheiros característicos do estilo /." Jaboticabal, 2012. http://hdl.handle.net/11449/105167.
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Orientador: Kathia Fernandes Lopes PivettaCoorientador: David Luciano Rosalen
Coorientador: Hugh W. Pritchard
Banca: Roberto Jun Takane
Banca: Claudia Fabrino Machado Mattiuz
Banca: Sérgio Valiengo Valeri
Banca: Maurício José Borges
Resumo: O jardim japonês, embora muito usado no Brasil, é pouco estudado em todos os segmentos, seja a análise de composições distribuídas em todo o país, até aspectos ligados à produção de mudas. Desta forma, este trabalho teve como objetivo fazer uma análise do ponto de vista paisagístico do jardim japonês do Bosque/Zoo Municipal Fábio Barreto de Ribeirão Preto, SP, bem como avaliar o efeito da temperatura em luz alternada na germinação de sementes de Pinus tabuliformis Carrière, Pinus gerardiana Wall. ex D. Don e Pinus roxburghii Sarg., pinheiros muito usados neste estilo de jardim. No trabalho de análise do jardim japonês do Bosque/Zoo Municipal Fábio Barreto de Ribeirão Preto, SP foram levantados 362 indivíduos (arbóreos e arbustivos), distribuídos em 80 espécies, 69 gêneros e 41 famílias botânicas. A área estudada apresentou índice de Shannon-Weaver de biodiversidade de 3,48. Grande parte das plantas não são de origem asiática, descaracterizando o jardim. Alguns elementos como o pagode, a luminária de pedra, o monte Fuji e as pontes com a ilha no centro de um dos lagos estavam de acordo com a filosofia do jardim japonês, no entanto, outros como placas comemorativas, lixeiras e bancos de concreto estavam descaracterizados. Na pesquisa de opinião realizada para se conhecer o perfil do visitante e a importância do local para os entrevistados concluiu-se que a maioria possui ensino médio (42%) e é constituída de mulheres (52%) entre as idades de 41 e 60 anos (44%). A maioria (88%) desconhece os princípios que... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The Japanese Garden, although widely used in Brazil, is understudied in all segments, is the analysis of compositions distributed nationwide to aspects linked to the production of seedlings. Therefore, this study aimed to analyze the point of view of the landscaped Japanese garden in the Woods / Municipal Zoo Fabio Barreto de Ribeirão Preto, SP, and to evaluate the effect of temperature on alternate light on seed germination of Pinus tabuliformis Carrière Pinus gerardiana Wall. ex D. Don and Pinus roxburghii Sarg., Pine widely used in this style of garden. In the analytical work of the Japanese Garden in the Woods / Municipal Zoo Fabio Barreto de Ribeirão Preto, Brazil. Among the vegetable elements were collected 362 individuals (trees and shrubs), distributed in 80 species, 69 genera and 41 families. The study area presented index Shannon- Weaver biodiversity of 3.48. Much of the plants are not of Asian origin, mischaracterizing the garden. Some elements like the pagoda, a stone lamp, Mount Fuji and the bridges to the island in the center of one of the lakes were in keeping with the philosophy of the Japanese garden, however, as other commemorative plates, trash cans and concrete benches were uncharacterized. In the survey conducted to know the visitor profile and importance of local respondents concluded that most have high school (42%) and consists of women (52%) between the ages of 41 and 60 years (44%). The majority (88%) are unaware of the principles guiding the Japanese style garden. The garden is... (Complete abstract click electronic access below)
Doutor
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Robinson, Elizabeth Sophie MacLeod. "The spread and impacts of invasive non-native plants in a human-dominated landscape : the case of Japanese knotweed." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24557.
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The increased movement of plants around the world is a serious and impactful environmental consequence of increased human dominance globally. Some of these plants will become established in new areas, some will proliferate, and some will become invasive causing environmental and socio-economic damage. Environmental processes contribute to plants becoming introduced, established and invasive. However, humans have an increasingly important role in all stages of the invasion process. In particular, the social processes that shape decision making, such as knowledge, risk perceptions, values and attitudes, can influence people’s behaviour that might lead to increased or decreased spread of invasive non-native plants (INNP). The social processes contributing to individual decision-making can be particularly influential in domestic gardens as it is the individual(s) responsible for that garden that decides how it is managed. Furthermore, the socio-economic impacts of INNP can be particularly acute in domestic gardens. In addition to the direct impacts of INNP in domestic gardens, an increase of their abundance therein could be detrimental to the health and well-being benefits gardens can provide, such as increased connectedness to nature. Invasion ecology is a rapidly growing area of research, however, key gaps in knowledge remain. In particular, little research has been done on INNP in domestic gardens and the perceptions of risk people have about the impacts they can have therein. This thesis applies an interdisciplinary approach to address these gaps. Japanese knotweed Fallopia japonica, is used as a case study throughout as it exemplifies many of the environmental and socio-economic impacts of INNP, many of which are particularly acute in domestic gardens. Identifying the processes contributing to the spread of INNP will help develop mitigation strategies to reduce their spread and therefore impact - this is the focus of chapters two to six. Chapter two explores the predictors of presence and abundance of Japanese knotweed at a 1km resolution within Cornwall, UK, finding that building density is the strongest predictor, followed by biophysical variables (minimum and maximum monthly temperature), and then socio-economic status of the residents within the 1km grid-cell. Chapter three considers one social process that might be contributing to the spread of INNP - the movement of propagules within soil. One of the key results of this chapter is that the abundance of invasive and naturalised species was significantly higher in garden than in housing development samples. This suggests that informal movement of soil between gardens poses a greater risk of spreading invasive plants than do commercial sources. Chapter three highlights the importance of high levels of identification skills of INNP to reduce their spread, however no previous research has tested INNP identification levels amongst the public. Chapter four explores this idea, finding that less than 20% of the public could identify Japanese knotweed. Even if people can identify INNP, if it is present in their garden they may not know how to manage it correctly and details of the impacts it can have therein. Chapter five analyses internet-based information about the management advice and impacts of INNP, determines the authors of this discourse, and considers whether and how this could be confusing to those responsible for managing domestic gardens. Analysis identified extensive variation in document structure, topics discussed, references and links to other sources, and language style; sometimes this variation was between and sometimes within author categories. A key conclusion from chapter five is that some internet-based information sources might potentially contribute to amplification (or attenuation) of risk perceptions, that could in turn lead to inappropriate management actions, resulting in increased spread of INNP. Chapter six uses a survey approach to explore risk perceptions of INNP in domestic gardens further. The results suggest differences in perceived risk of Japanese knotweed depends on people’s occupation, their direct experience of the species in a domestic context, their geographical proximity to the risk, their age and level of education. Greater understanding of the impacts INNP can have within domestic gardens will help assess the level of risk, plan mitigation strategies and design risk communication. This is the focus of chapter seven, which focuses on the economic impacts within domestic gardens. Results indicate that the magnitude and frequency of the risks Japanese knotweed poses in domestic gardens are much lower than anticipated based on media coverage, and compared with public perception. The results of this thesis have several important implications: (1) To mitigate potential inaccurate perceptions of INNP, governmental authorities need to provide clear and accurate communication about the impacts of INNP and how best to manage them. (2) When resources are limited, identifying the areas of society where knowledge is lowest or perceptions most inaccurate can help awareness and educational campaigns to be more impactful, thus reducing spread and impacts of INNP. (3) Implementation of the recommendations to reduce the spread and impacts of INNP within domestic gardens given within this thesis could contribute towards preserving the health and well-being benefits gardens can provide. Overall this thesis demonstrates further evidence of the need to consider the human causes and solutions to INNP and the need for knowledge on this topic to be applied by a diverse range of stakeholders.
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Onishi, Hideaki. "Toru Takemitsu's Japanese gardens : an application of superset/subset networks to the analysis of the three orchestral compositions /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11258.
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Lessa, Larissa. "Subversão e resistência no Japão pós-guerra: os filmes de Terayama Shūji." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-22102018-162052/.
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Esta pesquisa tem como objetivo o mapeamento do espaço que ocupa Terayama Shūji, poeta, escritor, dramaturgo e diretor de cinema japonês, frente ao período histórico a que pertenceu e frente às teorias da vanguarda e do pós-modernismo. A investigação se inicia com o período do pós-guerra no Japão, quando em meio a protestos e ansiedades políticas, floresce na capital do país uma nova vanguarda artística. O primeiro capítulo é dedicado a um exame do teatro angura e da nova onda do cinema, dois movimentos dos quais Terayama fez parte. Procura-se então delinear suas propostas artísticas e suas principais influências, japonesas e estrangeiras, examinando como seu trabalho se aproxima ou se afasta do paradigma pós-moderno conforme teorizado principalmente por Fredric Jameson, mas levando em conta reflexões sobre as aplicações desse conceito especificamente no Japão. Por fim, o último capítulo se debruçará sobre dois longas-metragens do diretor Joguem seus livros, vamos às ruas, de 1971, e Pastoral: Morrer no campo, de 1974 de modo a encontrar exemplos do seu caráter experimental, subversivo, de sua insurreição contra as instituições da família e do Estado e de suas complexas relações com a política, a história, o pastiche e a espetacularização.This research aims at mapping the space occupied by Terayama Shūji, a Japanese poet, playwright and filmmaker, in his historical context and in relation to avant-garde and postmodernism theories. The investigation begins with postwar Tokyo, when amid protests and a climate of political anxiety, a new avant-garde movement starts to flourish. The first chapter is dedicated to an examination of the angura theatre and the Japanese new wave, two of the movements Terayama was part of. We shall then trace his general artistic views and main influences, Japanese and foreign, examining how they relate to postmodern characteristics as theorized mainly by Fredric Jameson, but also inquiring at how this very concept can apply to the Japanese context. In the last chapter, we shall take two of Terayamas feature films Throw Away Your Books, Rally In The Streets and Pastoral: To Die in The Country for further analysis, in order to find more specific examples of his experimental and subversive character, his rejection of the institutions of family and the State, and his complex relationship with politics, history, pastiche and spectacularization.
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Zhang, Yuan. "Spatial and Visual Structure of the Historical Landscape in China and Japan：Case studies of Chinese Buddhist Temples in Sui and Tang Dynasties, and Japanese Gardens." 京都大学 (Kyoto University), 2017. http://hdl.handle.net/2433/225567.
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Shiono, Eiko. "Les traditions japonaises dans les œuvres de deux compositeurs français du XXIe siècle : Laurent Martin et Jean-Luc Hervé." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040179.
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Tout au long de leur histoire, les Japonais ont cultivé précieusement leurs propres traditions, tout en assimilant lescultures voisines, celles d’Asie continentale (Chine, Corée), puis celles apportées par l’Occident. Pourtant, aujourd’hui,au début du XXIe siècle, leur vie quotidienne est marquée par le monde occidental et il nous semble que « la traditionjaponaise » commence à tomber en désuétude. Le mot « tradition » prend même une couleur exotique à leurs yeux, etdésormais, ce sont les Occidentaux qui tournent leur regard vers la tradition japonaise. Parmi eux, deux compositeursfrançais, Laurent Martin (1959-) et Jean-Luc Hervé (1960-). L’objet de leurs recherches est le moteur de leur créationmusicale et leur intérêt pour le Japon ne se limite pas à des stéréotypes. Laurent Martin s’intéresse au premier chef à lalittérature japonaise et Jean-Luc Hervé est attiré avant tout par l’agencement du paysage japonais (architecture, jardins).Tous deux sont en quête de ce qui est ignoré ou oublié des Japonais eux-mêmes : « la tradition japonaise », qui est digned’être perpétuée ou remise à jour. Les centres d’intérêt de ces deux compositeurs ont nourri le sujet de notre recherche.Après avoir étudié les particularités des cultures japonaise et française, leurs points communs et ce qui les différencie,nous analyserons Poèmes japonais de Laurent Martin et Effet lisière de Jean-Luc Hervé sous divers angles. À partir deces deux modèles musicaux, nous nous demanderons comment les Japonais eux-mêmes peuvent appréhender leurspropres traditions au sein de la société moderneDuring their long history, the Japanese people had managed at the same time to cultivate carefully their own traditionswhile integrating the surrounding cultures, first those of continental Asia (China, Corea), then the Western cultures. Andyet, nowadays, it seems that the daily life of the Japanese people has become more and more westernized while the socalledJapanese tradition is receding. For the Japanese, the term itself of “tradition” seems to take an exotic meaning andhenceforth, Westerners are now mainly taking interest in the Japanese tradition, and among them, two contemporaryFrench composers, Laurent Martin (1959-) and Jean-Luc Hervé (1960-). The object of their research constitutes thedynamic of their musical creation and their interest in Japan is not confined to stereotypes. Laurent Martin’s maininterest lies in Japanese literature while Jean-Luc Hervé is attracted above all by the layout of Japanese landscapes (inarchitecture and gardens). Both are delving into what the Japanese people are ignoring or forgetting, i.e., the “Japanesetradition” which merits to be perpetuated and brought up to date. The fields of interest of the two composers are theobject of this present research. After studying the particularities of Japanese and French cultures, their commun featuresand their differences, we will analyse Laurent Martin’s Poèmes japonais and Jean-Luc Hervé, Effet lisière from variousperspectives. From those two musical models we will then ask ourselves how Japanese people can assess their owntraditions within modern society
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Swan, Marilyn Rose. "HAYASHI YASUO AND YAGI KAZUO IN POSTWAR JAPANESE CERAMICS: THE EFFECTS OF INTRAMURAL POLITICS AND RIVALRY FOR RANK ON A CERAMIC ARTIST’S CAREER." UKnowledge, 2017. https://uknowledge.uky.edu/art_etds/15.
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The use and firing of clay to make art instead of vessels was a revolutionary concept in Japan when it first was introduced by Hayashi Yasuo in 1948 with Cloud, and expanded upon by Yagi Kazuo in 1954 with Mr. Samsa’s Walk. Although both avant-garde artists were major forces in the advancement of abstract, nonfunctional ceramics, Yagi is usually given sole credit and occupies a prominent place in the literature, while Hayashi’s name can scarcely be found, despite his numerous international awards, large body of work and career spanning seven decades. This thesis seeks to identify the factors that influenced the direction of their careers and the unbalanced reception of their work. It compares their backgrounds, personality traits, avant-garde affiliations, and positions on art and ceramics, in relation to the norms and prerequisites for success in Kyoto’s deeply stratified, convention-bound ceramic community. The pervasive practice of rating and society’s emphasis on affiliation and rank were significant forces in this situation, as were issues that divided Japan’s art world -- the separation and unequal ranking of fine art and traditional craft, or the value of individual expression versus technique and tradition. Ultimately, this study reveals an insular world during a decade (1946–56) of crisis and transition that is rarely studied in the West from the perspective of ceramic art.
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Mendes, da Silva Vaz Marria Suzana. "The archaic makes the Avant-garde : Experimental practice and primordial image ; reading the Brazilian Post-Neoconcrete and the Japanese Gutai artists through Mircea Eliade and Carl Gustav Jung." Thesis, University of the Arts London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650332.
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Schnellbächer, Thomas [Verfasser], and Irmela [Herausgeber] Hijiya-Kirschnereit. "Abe Kobo, Literary Strategist. The Evolution of his Agenda and Rhetoric in the Context of Postwar Japanese Avant-garde and Communist Artist's Movements / Thomas Schnellbächer. Hrsg.: Irmela Hijiya-Kirschnereit." München : Iudicium Verlag GmbH, 2014. http://d-nb.info/107726707X/34.
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Winther, Leslie. "Från Japan till Sundborn : En undersökning av Karin Larssons textilier." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435083.
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The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual male art student, which affected her art works. The subjects of her art works were also often the result of personal experiences. Furthermore, a correlation between the art works and Japanese woodblocks and Japanese embroidery techniques were identified.
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Ljung, Bo. "Det omättliga ögat." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411556.
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This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation.
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Chen, Hsin-Fu, and 陳信甫. "The Influence of Chinese Zen to Japanese Garden Study：A Case Study of Kyoto Area Gardens." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/45788397742753405335.
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碩士國立臺灣大學
園藝學研究所
89
Zen, A branch of Chinese Buddhism was introduced to Japan during the Sung Dynasty .It has influenced Japanese garden style deeply and evolved well-known Chinese Zen-styled gardens of Kamakura and Muromachi periods. The Chinese and Japanese Zen Buddhist were the chief communicator for both garden cultures in these days. The arrangement of temple garden in Kamakura period, influenced by the emphasis of Chinese temple on nature, smelled a strong Zen effect. During Muromachi periods, Japanese Clergy were fond of creation of Chinese poem and pairting , which developed “ Five Mountains －The Rinzai Zen Monastic Institution in Medieval Japan ” and generated the popularity of “ Zen building ” . For example, “Dry Landscape ” was influenced by Chinese Zen painting and become the most typical Zen Garden in Japanese Gardening design Shoin Garden during the Momoyama periods was the place for meditation for Samurai and Buddhist, the arrangements and furnishings were also planned and modeled with Zen character. In addition, the “ stroll garden with pond ” in Edo period, was influenced by the Tao of Tea from China , formed the design of “ Tea house” and “ Tea garden ” which indeed brought new colors for gardening in Japan .After Edo period, because the decrease of Japanese Zen worships, the influence of Chinese Zen to Japanese garden finally faded away and become history.
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Huang, Tsung-Chen, and 黃琮宸. "A study on the analysis of landscape preparation of Taiwan Japanese garden- A case study on Japanese gardens in the central Taiwan." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/42511857297528162707.
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WU, JHAO-SHUEI, and 吳兆水. "Research on Elements of Spatial Composition for Japanese Garden in Taiwan." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/02738671847979661118.
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碩士大葉大學
設計暨藝術學院碩士在職專班
103
This dissertation researches the elements application to space constructure in Japanese style gardens in Taiwan. The purposes of this study are exploring Japanese Gardens’ evolution, types, its elements of space, and investigating the application to the elements of space in Japanese garden in Taiwan; and finally, offering suggestions on the application of Japanese style gardens in Taiwan. The research method is classified into two ways: First, researching the development, connotation and characteristics of Japanese style gardens by comprehensive study of the literature. Second, conducting a field research into four Japanese style gardens in Taiwan including Taipei Guest House, which are used as the research target. Based on the methodology above, the conclusion is drawn as follows: deep religious connotations are in traditional Japanese gardens. The stone arrangements emphasize the spirit of imposing manner, and the revetments construction —the highlight of the pond gardens—value the three-dimensional visual beauty and natural beauty of waterscape. Plants arrangement pursues the expression of Zen, representing the philosophical mood of rustic simplicity at their core. Japanese style pond gardens in Taiwan, on the other hand, feature heart character ponds, and their artificial hills were mostly piled by soil. Their stone arrangements lack momentum. As for waterscapes, Japanese style gardens in Taiwan show a preference for stucco and stones as main handling. Bottoms of ponds were built of RC, then paved with mud and rocks. Concrete mortar rockery revetment is a unique revetment construction method in Taiwan. The species diversity of plants in Taiwanis higher than that of Japanese gardens’, and the colors of plants are also brighter. The overall planting design in Taiwan includes multiple styles.
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Yang, Chia-Hsien, and 楊佳嫻. "Garden on the Cliff：the Shanghai Literature Field under Japanese Occupation, 1942-1945." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/23310050612604395872.
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Huang, Tsui-fen, and 黃翠芬. "A Research about the Creative Landscape Presentation of Sino-Japanese Garden Rock Art." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/72118165080650179194.
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碩士南華大學
環境與藝術研究所
93
Traditional Chinese and Japanese garden art have their extraordinary position in the field of global garden art. Though both of them are derived from oriental culture, they have prospered and become two different concept of beauty due to their individual historical and cultural development. Abundant ancient Chinese myth and legends plus widely diverse thoughts of ancient scholars had nurtured Chinese philosophy. The merging of Confucianism, Buddhism and Taoism, furthermore, enriched the inner connotation of Chinese art and literature. Scholars and officials abandoned themselves to nature. The garden art conveyed their ideal of living in seclusion. Japan is indeed influenced by Chinese culture and in some way, has similar idea and artistry in garden art. But Japan has its specialty in absorbing foreign culture and then creates its own style. This makes Japanese garden become unique and outstanding. The basic element of oriental garden is rocks. Rocks play an important part. They are the bone and core of oriental garden structure. Sino-Japanese garden are both affected by the custom of placing natural rocks in gardens, but with different environment, society, economy and politics, each country shows a very different artistry in rock art. This asset aims at comparing the development of rock culture and art in China and Japan, in order to explain how different culture system gives rocks different function and meaning and then derive different style and artistry in garden art. We also want to study how Sino-Japanese people at different time present their garden in a practical way or a pure appreciating way. The outcome of this research: Chinese garden art is founded on seeking a literature imaginary. Chinese rock art emphasizes on the variety, the curving lines and the mystery of rocks and has rules but no forms. It’s the same way rocks appear in Chinese paintings. Japanese garden art is affected by several religious belief which include Buddhism, immortal beings etc.. Japanese rock art has a fixed form requesting a stable beauty of lines, creating a state of drought, loneliness, stillness and strongly showing its abstract and symbolism, for instant: using sands in garden. Japanese garden demands a very strict boundary division. In China, garden art is independent of the development of building construction system and has its own developing system. Chinese garden is a space people can watch, live in, walk on and wander around. It’s a piling up space arrangement pursuing the imaginary beauty existing in Chinese poetry and paintings. Rock art is focusing on “time”. It’s a moving form according to the change of time and seeks the lively beauty and the eternal space transforming. While in Japan, garden doesn’t have an obvious character. Often it’s only an attachment for specific purposes. This is a big difference between Chinese and Japanese gardens. Not like Chinese garden, Japanese garden emphasizes the “space” and praises beauty of temporariness and glorious moment of instant. Through the way showing motionless, simplicity and miniaturing, it presents beauty of plainness, loneliness and stillness.
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HONG, YA-HUI, and 洪雅惠. "Applied the Garden Landscape Images of Japanese Karesansui on Cultural and Creative Products." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/vrs552.
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碩士國立屏東科技大學
景觀暨遊憩管理研究所
106
Japanese Karesansui is a heritage of long standing in Japanese temples. That is a representative of Japanese gardens.Taking stone as the mountain and sand as water. It's simple elements become a unique landscape aesthetic. The thesis combined with Karesansui culture and creative candles, and design commodities by the concept of cultural and creative goods, the candle replaced the original stone elements. Inspiration and creative concepts was expressed in the model, it became a cultural product of miniature garden. There are eight pieces in this designs.By hosting exhibitions,let the viewers enjoy the fun of the Karesansui miniature garden and use questionnaires to collect viewers feedback and opinions on the products as a reference for future design. It showed up 90% viewer agreed several benefits after they have enjoyed the exhibition.
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Oshima, Megumi, and 大嶋惠美. "Comparison of the Japanese language education for small children~Focus on a center small children of Taiwan Chiba English-Japanese kinder garden~." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/29170128876879642275.
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碩士國立高雄第一科技大學
應用日語研究所
101
As time progresses, continuous development, the preschool language education is more and more prevalent. Meanwhile, there are more and more relevant studies regarding preschool education. Therefore, we are here concerned with the preschool children who are learning Japanese in Taiwan. There are a lot of opportunities of contacting Japanese in Taiwan. Hence, more and more people are willing to learn Japanese here. As a result, learning Japanese in preschool is getting popular in Taiwan. Moreover, the institutions provided with teaching Japanese are slightly increasing recently. The purpose of this study is focusing on the comparisons of Japanese education methods between the year of 1997 and 2012 in Chiba Language School, located in Pingtung, the South of Taiwan. We present our research not only by focusing on educational methods, but also by collecting the data of class schedules, teaching techniques, routine activities, as well as learning environment. This study is composed of five chapters. In the first chapter, we would like to introduce the research purpose, subjects, and research methods. The comparisons and analysis of education approaches in Chiba Language School would be presented in the following chapter. However, there are more discussions about the teaching methods of preschool Japanese education in the third chapter, additionally; we also do questionnaire survey towards students’ parents and the teachers. In the next chapter, we make a study of the current difficulties in preschool education. Finally, the study is concluded by guiding people who are interested in preschool Japanese education in the fifth chapter.
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Davidson, J. Duncan. "The necessity of hallways: Path making and the re-formation of a Japanese tea garden into an East Texas roadhouse." Thesis, 1995. http://hdl.handle.net/1911/13940.
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By identifying key events in the ceremonial movement of a person through a traditional Japanese tea garden and comparing this "event sequence" to a patron's path through a rural American bar (a roadhouse) it is argued that (1) the tea garden and roadhouse are both examples of interactive environments that encourage specific behavior of visitors, (2) events experienced in a particular sequence defines (psychologically if not physically) a pathway between two places, (3) such "pathways" establish a sense of relationship amongst different locations and consequently tend to organize the fragments (elements) of a given landscape, and (4) within the study of "pathways" there are useful techniques to be learned for constructing "perceived geographies" of high complexity.
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LIN, MEI-LAN, and 林美蘭. "The Application of Japanese Dry Landscape on Buddhist Temple Garden : A Case Study of Jia Yi Amitabha Monastery in Taiwan." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/32v2hy.
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碩士大葉大學
設計暨藝術學院碩士在職專班
103
The Dry Landscape garden is one of the characteristic of Japanese gardens, and is also the most commonly seen gardens styles in Japan. " Dry Landscape " uses rocks to represent mountains, and sand stones to represent lakes and seas, decorated with small amounts of shrub shrubberies and sedge grass. Because this style of garden contains little plant life, and has no simulated rocks, therefore it is named "Karesansui". The Karesansui garden in Chiayi City's Amitabha Monastery is one of the most classic cases the creation of a Karesansui garden. This study chooses this garden as case study, to examine the design style and characteristic of Taiwanese Karesansui gardens, and research whether or not Amitabha Monastery have embodied and transformed Japanese Karesansui's design ideals and styles, to present a Taiwanese Karesansui garden that both inherited the Japanese styles and added new touches from Taiwan. First, the reason behind the construction of the Mi Tuo Chan Si Temple, is because its’ owner had Japanese education in his early year, and saw the Karesansui garden style by chance, therefore asked the designers to build Amitabha Monastery using the Karesansui style. Second, the uniqueness of the Japanese Karesansui style is not containing any waterscape, instead using sand stone to represent water, and rocks to represent mountain. Karesansui gardens are also known as zen gardens, its appearance is for display, yet it's real use is to help one to train the mind, by using the landscape the strengthen the training. The Amitabha Monastery used freehand to represent the movement of the streams, the quietness of the Shōshintei to present the mood of the garden. Third, what's most unique about the Amitabha Monastery is that it added the concept of feng shui, especially in its "Green Dragon (left) & White Tiger (right) " design, representing the contras between movement and stillness. Lastly, what is convenient or difficult about the maintenance? For ease of management and maintenance, sands are replace with pebbles that are -viglued on the ground, and follows the same color as the white sand the represent the movement of water. This does make maintenance much easier, yet lacks the white sand's vibrates and quietness. Also it has a higher standard for harmony and unity, and put in more focuses in plant grooming, with its unique landscape and fences, making it harder to maintenance than the traditional Japanese Karesansui garden.
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Yu, Yu-Ying, and 游於穎. "A Comparative Study of the Japanese Zen Gardens and Tea Gardens." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/82607999025625605297.
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碩士淡江大學
建築學系碩士班
96
The purpose of this paper is to discuss the quantities and differences of Japanese Zen gardens and Tea gardens. And comparing and researching from three aspects, the thoughts of culture, elements of space, and examples. This paper is composed by five chapters. The outlines of each chapter are as following. Chapter 1：Introduction Explain the motivations, purposes, contents, procedures, designs, methods, and definitions of this paper. Chapter 2： Discuss the differences and similarities between Japanese Zen culture and Tea culture from points of history and culture. Analyze how Zen thoughts and Tea thoughts make impacts on Zen gardens and Tea gardens. Chapter 3： Discuss the differences and similarities in elements of landscape by natural elements (Waterscape, Stones, and Plants) and artificial elements (Architecture, Scenery, and Routes) Chapter 4： Analyze the differences and similarities in structures and ways of seeing Zen gardens (Ryoan-ji Garden and Daisen-in Garden)and Tea gardens (Omote Senke Garden and Ura Senke Garden). Chapter 5：Conclusion According to this paper, Japanese gardens are influenced by Buddhism and they develop quantities which make them different from Chinese traditional gardens. Take Zen gardens and Tea gardens for instance, they reveal strong religion flavor and abstracted atmosphere. There are some similar aspects of religions and spirits in Japanese Zen gardens and Tea gardens. However, they develop different images and forms of gardens. From points of history and culture, Japanese Zen and Tea develop special spirit and culture with Buddhism spread from China. Japanese Zen and Tea are almost the same in spirit. Then, Zen gardens emphasize the spirit of abstract. Tea gardens pursue the practical quantity. From the view of space elements, Zen gardens operate more natural elements, and Tea gardens make use of more artificial elements. Zen gardens display natural landscape； Tea gardens display landscape with practical purposes. In addition, Zen gardens include many waterscape and stones. Then, Tea gardens include many elements of plant and architecture. By the way, Zen gardens include many seascape； Tea gardens imitate mountain-scape. Although both Zen gardens and Tea gardens pursue the dull and lonely atmosphere, they still have some differences. For instance, Zen gardens often contain gray, black, and white colors, and soak up in strong religion atmosphere. On the other hand, Tea gardens make people immerse in a green and serene mountain. From the cases in this paper, you can find that Zen gardens are composed by circles. The relation between Zen gardens and circles would be seeing and to be seen. Then, the path of Tea gardens guides people to go into the gardens. Zen gardens are sacred and mysterious. And Tea gardens allow people to have the feeling of virtually being there, and near the nature. Zen gardens emphasize the experiences of seeing sea； Tea gardens emphasize the experiences of climbing mountains. In addition, Zen gardens give people a serene place to meditate. Tea gardens give visitors a place to participate in Chadou activities and forget general affairs.
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Kiejziewicz, Agnieszka. "Japanese avant-garde and experimental film." Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/87276.
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Japoński film awangardowy, ściśle powiązany z teatrem ulicznym i działaniami performatywnymi, może być postrzegany zarówno jako konglomerat wpływów zachodniej sztuki audiowizualnej, jak i jako przykład tworzenia unikalnej jakości estetycznej na gruncie lokalnym. Styl japońskich artystów narodził się z połączenia inspiracji zaczerpniętych od zachodnich twórców filmowych i poszukiwania odpowiedzi na pytania o znaczenie oraz kształt powojennych przemian społeczno-gospodarczych w Japonii. Przedstawiona rozprawa doktorska ma na celu ukazanie powiązań pomiędzy japońskimi historycznymi ruchami awangardowymi i nowym japońskim filmem eksperymentalnym, podkreślając nieustającą ewolucję ruchu: metamorfozę założeń przyjmowanych przez niezależnych artystów, grupy oraz kolektywy. Na kartach rozprawy autor ukazuje rozwój japońskiego filmu awangardowego oraz eksperymentalnej estetyki, rozwijanej przez pokolenie artystów tworzących po roku 2000. Głównym założeniem towarzyszącym zaprezentowanym badaniom był namysł nad stopniem, w jakim nowe pokolenie artystów eksperymentalnych wypełniło postulaty, a także przejęło estetykę oraz cele postawione przez powojenne pokolenia Japońskich awangardowych artystów. Autor rozprawy wychodzi od opisu parametrów awangardowej aktywności na polu filmowym. W pierwszym rozdziale zostały opisane ramy teoretyczne zjawiska, jego krytyka oraz komentarze badaczy tematu. Następnie, autor analizuje parametry japońskiej awangardowej aktywności oraz teorie japońskich badaczy i artystów. Kolejny rozdział stanowi szczegółową prezentację wybranych aspektów, artystów oraz filmów tworzonych przez japońską awangardę od jej początków do lat 90. XX wieku. Autor rozpoczyna od usytuowania inspiracji futuryzmem, ruchem Dada oraz surrealizmem w szerszym kontekście badań nad japońską awangardą filmową. Następnie, zostają przywołane tematy, założenia oraz estetyka dzieł takich artystów jak Shūji Terayama, Donald Richie, Takahiko Iimura, Masao Adachi, Takashi Ito, Toshio Matsumoto i Mako Idemitsu oraz analiza japońskiej awangardy feministycznej i video artu. Ostatni rozdział rozprawy ukazuje rozwój eksperymentu audiowizualnego w Japonii po roku 2000, przywołując filmy takich twórców jak Takashi Makino, Rei Hayama, Shinkan Tamaki czy Kazuhiro Goshima.Japanese avant-garde film, closely connected to street theatre and performative activities, can be described both as a conglomerate of the Western audiovisual influences and the example of the unique aesthetic quality. The style of the Japanese artists was born through combining the inspirations taken from the Western filmmakers and other artists with searching for the answers for the post-war socio-political changes. This dissertation aims at showing the connections between Japanese historical avant-garde movements and new Japanese experimental films, showing the constant evolution: the metamorphosis of the tendencies of the independent artists, groups, and collectives. The author provides insight into the development of Japanese avant-garde film, and experimental aesthetics expanded by the post-2000 generation of artists. The main question that accompanied the presented research was that on the extent to what the new Japanese avant-garde artists fulfill the postulates, aesthetics, and objectives of the previous generations of the filmmakers. The author starts from a brief description of the parameters of avant-garde film activity. In the first chapter, there are presented the theoretical frames, the critique, and comments on the avant-garde film - provided by the Western researchers. Furthermore, the author analyzes the parameters of the Japanese avant-garde activity and Japanese film theory, juxtaposing them with the Western perception of the movement. The following chapter revolves around the detailed presentation of the chosen aspects, artists and films of the Japanese avant-garde from its origins to the 1990s. The author starts from situating the Futurist, Dada and Surrealist inspirations in the broader context of the Japanese avant-garde. Also, the author focuses on the themes, objectives, and aesthetics introduced by such artists as Shūji Terayama, Donald Richie, Takahiko Iimura, Masao Adachi, Takashi Ito, Toshio Matsumoto, Mako Idemitsu, as well as by feminist avant-garde art and Japanese video art. The last chapter concerns the rapid development of the visual experiment in Japan after the year 2000, featuring the works of such authors as Takashi Makino, Rei Hayama, Shinkan Tamaki or Kazuhiro Goshima.
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Lee, Yoon Jung. "Inquiry into and seccession to traditional Japanese Zen gardens." 2005. http://purl.galileo.usg.edu/uga%5Fetd/lee%5Fyoon%5Fj%5F200505%5Fmla.
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Chang-Chia, Chen, and 陳昶嘉. "An Analysis and Interpretation ofKaija Saariaho《Six Japanese Gardens》." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/66955474950704505380.
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碩士國立臺北教育大學
音樂學系碩士班
102
Kaija Saariaho is one of the major composers of modern Finland. Bold avant-garde compositional techniques coupled with creative concept, creating a great achievement and her position in the music industry. Six Japanese Gardens is a collection of impressions of the gardens she saw in Kyoto during her stay in Japan in the summer of 1993 and her reflection on rhythm at that time. Using Multi-percussion and electronic to compose this piece, rhythm counterpoint requires a lot of practice to achieve in the other percussion works and this piece. There are five chapters this thesis. Chapter one is an introduction which illustrate the motive, purpose, range and methods of research. Chapter two includes the biography of Kaija Saariaho and the background of Six Japanese Gardens. Chapter three is music analysis of Six Japanese Gardens. Chapter four is the interpretation of Six Japanese Gardens. Chapter five is conclusion.
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Huang, Tsui-Fen, and 黃翠芬. "The Interpretation of In-between Space Ritual Meaning of Sino-Japanese Gardens." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/57182075425253793439.
Full textAbstract:
博士中原大學
設計學博士學位學程
102
Gardens are “intermediary landscape” between nature and cities. They are places which keep transforming and are perceived as human’s “imaginary heavens”. In a more and more urbanized society, gardens and the rituals taken place in them are the intermediaries to connect household living and the nature. Gardens are products generated during the process of communication between humans and natural environment. In early days, the setup of the gardens were related to religious rituals. Gardens were important platforms where humans held activities with ritual characteristic for returning to Heaven. Rituals were a series of formal activities which could be repeated in patterns and convey universal value, meaning and faith. Ancient China had developed from religion, etiquette, and mythology a set of ritual and musical decree to guard and nurture lives. The activities taken place in the gardens such as royal gardens, literary gardens or religious gardens were with ritual signification. Religious gardens were surely with ritual features within themselves while royal gardens were opened up to public annually or periodically and were the location for various kinds of ceremonies worshiping to Gods, parties or entertainment which were all with ritual characteristics. Royal gardens were also the places where Emperors displayed their authority during Chinese feudal period of time. This kind of character remained the same, but the display of power had been switched toward symbolic rituals. Although literary gardens were places for literati to withdraw from reality, they were not utopias secluded from society. Instead, they put literati into all kinds of social relationships. Through the cultured activities held in the literary gardens, all literati, scholar officials, and intellectuals were able to get self-identification, fulfill their ideals and appreciate the arts. Japanese gardens which were abundant in ritual culture had been places for traditional ceremonies before Heian Period. Being influenced by traditional Shinto, Japanese were highly sensitive to seasons and fully fascinated by nature and which were expressed in their gardens. Their appreciation of the beauty were resulted from their love in nature. And they reflected themselves into nature when observing it and blended nature into their lives. Therefore, their gardens integrated fully with nature naturally. They deeply believed that mountains, rivers, grass, trees, wind, flowers, snow, moon, birds, animals, bugs, and fishes all could be transformed into gods magically and this belief was called Shinto in Japanese religious culture. Japanese garden culture fully interpreted the ideas that gardens were the intermediaries and the reflection of nature, especially the shrine gardens which were deeply influenced by Shinto and still kept one piece of “Guarding Forest”. This research applied human geography and the ritual theories in cultural anthropology to explore the ritual significance of Sino- Japanese gardens as the in-between space. The symbolic meanings of the rituals were gradually confirmed in the history, and people were able to feel gods and experience joyfulness by attending the rituals. Through the ritual activities held in gardens, people raised themselves from ordinary being to holy state and discovered the inner relationship between gods and themselves; social groups solidify the control power of the society and construct the community and group identity; .power was transformed and entrusted; mental and physical were cured and remolded; culture and arts were propagated to lead the world to a state of harmony, integration and reanimation. Therefore, gardens were full of characteristics of intermediary, transition, transforming, well blending, homogeneousness, equality, and entirety. In this transitional space, housing and nature were interconnected; garden culture was memorized and passed on; lives were dedicated basing on the belief of getting to the eternity; and nature was taken as the sacred to build up mutualism and harmony in community relationship.
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Li, Feng-Ke, and 李逢格. "Applying Virtual Reality to the Study of the Preference and Stone Arrangement Momenta in Japanese Gardens." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/23636952766079556604.
Full textAbstract:
碩士國立中興大學
園藝學系
86
The main prupose of thes study was to investigate the preference and momentumof stone arrangements in Japanese gardens.The study applied Virtual Reality(VR) ksimulation technique to construct the experimental scenes.In total,the study created twelve experimental scenes by combing six momenta of stonearrangement (e.g., symbokizing,moving, dispersing, echoing, revolving, andcentralizing) and two background materials (e.g.,grass and sand).Through theuse of questionnaire, computer, and Head Mounted Display (i-grasses), the studysurveyed the preferences for twelve experimental scenes.The study obtained 120valid samples from National Chung-Hsing University.Data were analyzed bydescriptive statistics, t-test, one-way analysis of variance, Kruskal-Wallisone-way analysis of variance, and two-way analysis of variance.Considering thefinding, the study proposed four major comclusions as follows:1. Respondents have the corespondent feelings of momentum that each stone arrangement is supposed to provide. 2. Respondents have singnificant differences for preferences in different stone arrangements.3. Respondents have singnificant differences for momentum feelings in different stone arrangements. 4. Personal characteristics have no influence on the preference and momentum felling of different stone arrangements.