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Journal articles on the topic 'Japanese Portraits'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Allen, Joseph R. "Picturing Gentlemen: Japanese Portrait Photography in Colonial Taiwan." Journal of Asian Studies 73, no. 4 (2014): 1009–42. http://dx.doi.org/10.1017/s0021911814000990.

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This essay investigates the conditions of portrait photography in Taiwan during Japanese colonization. After a brief introduction to the theoretical issues concerning the indexical nature of the photograph, I consider the Japanese colonial photographic industry and its products (portraits) in three contexts: the state of photographic technology in the world at that time, the ideological machinery of colonization in Taiwan, and the wider phenomenon of colonial mimicry. In this consideration, I offer a diachronic analysis of photo albums and commercial directories that contain formal portraits o

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2

Lin, Wen-Bin, and Kao-Feng Yarn. "The Imperial Portraits Ho-an-den of Former Hsin-Hua Ordinary Elementary School- Focusing on the Exploration of Imperial Rescript on Education." International Journal of Research and Review 9, no. 3 (2022): 417–23. http://dx.doi.org/10.52403/ijrr.20220346.

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Hsin-hua Primary School, Hsin-hua District, Tainan City, Taiwan, was celebrating its 120th anniversary in 2017. The school was formerly known as the Tavocan branch of Tainan Institute of Japanese, founded in 1898 during the Japanese colonial rule. As part of its commemorative project, it has restored the Ho-an-den, a post-war Japanese period building with slogans on all four walls of the campus. Ho-an-den, commonly known as "imperial portraits Ho-an-den", was a building used to enshrine the portraits of contemporary emperors and empresses in schools and other educational institutions in Japan

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3

Hong. "NEW PORTRAITS OF JAPANESE AMERICA." Journal of American Ethnic History 33, no. 1 (2013): 70. http://dx.doi.org/10.5406/jamerethnhist.33.1.0070.

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4

Fukumori, Naomi. "Eight Portraits of Japanese Women." American Book Review 28, no. 1 (2006): 9–10. http://dx.doi.org/10.1353/abr.2006.0176.

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5

Furuhata, Yuriko. "Autoradiography: Self-portraits of coral." Journal of Environmental Media 5, no. 1 (2024): 109–15. http://dx.doi.org/10.1386/jem_00122_1.

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In the 1930s, Japanese marine biologists began studying coral reefs at the Palao Tropical Biological Station on the island of Koror in today’s Republic of Palau while the island was occupied and governed by the Japanese Empire. These scientists’ ecological research on the symbiotic relationship between coral polyps and algae later contributed to the American science of ecosystem and radiation ecology, which developed in the irradiated atolls of the Marshall Islands, where the United States infamously conducted nuclear weapons testing in the 1950s. It was also in the 1950s when American and Jap

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6

Shun'ichi, Takayanagi, and Lawrence Olson. "Ambivalent Moderns: Portraits of Japanese Cultural Identity." Monumenta Nipponica 48, no. 4 (1993): 499. http://dx.doi.org/10.2307/2385298.

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7

Sasaki-Uemura, Wesley, and Lawrence Olson. "Ambivalent Moderns: Portraits of Japanese Cultural Identity." Pacific Affairs 67, no. 1 (1994): 124. http://dx.doi.org/10.2307/2760139.

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8

Musquiqui, Chihying. "The portraits of disease." Philosophy of Photography 14, no. 1 (2023): 109–18. http://dx.doi.org/10.1386/pop_00074_7.

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‘The portraits of disease’ explores the link between the symbolic use of diseases and the propagation of ideologies. It traces the origins of the term ‘Sick Man of Asia’ back to British newspapers in the mid-eighteenth century and its development into a metaphor for actual pathogens. The author contends that coloniality and pathogens share similarities, as both are highly transmissible and cannot be seen with the naked eye. The text also examines the influence of German-influenced microbiological research in the Japanese Empire on the expansion of public health methods and institutions in Taiw

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9

권성훈. "Psychoanalysis analysis of poet portraits Japanese colonial era." Journal of Korean Studies ll, no. 42 (2012): 37–67. http://dx.doi.org/10.17790/kors.2012..42.37.

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10

Unemori, Patrick, Heather Omoregie, and Hazel Rose Markus. "Self-Portraits: Possible Selves in European-American, Chilean, Japanese and Japanese-American Cultural Contexts." Self and Identity 3, no. 4 (2004): 321–38. http://dx.doi.org/10.1080/13576500444000100.

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11

Hiroshi, Ishida, Kumazawa Makoto, Andrew Gordon, and Mikiso Hane. "Portraits of the Japanese Workplace: Labor Movements, Workers, and Managers." Journal of Japanese Studies 25, no. 1 (1999): 242. http://dx.doi.org/10.2307/133384.

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12

Kinzley, W. Dean, Kumazawa Makoto, Andrew Gordon, and Mikiso Hane. "Portraits of the Japanese Workplace: Labor Movements, Workers, and Managers." Labour / Le Travail 42 (1998): 309. http://dx.doi.org/10.2307/25148921.

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13

Wu, E. D. "After Camp: Portraits in Midcentury Japanese American Life and Politics." Journal of American History 99, no. 3 (2012): 973–74. http://dx.doi.org/10.1093/jahist/jas329.

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14

Moyer, Ana. "Sea of the Universe: Sculptural Self-Portraits of Mari Katayama." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (2021): 26–37. http://dx.doi.org/10.5206/tba.v3i1.13915.

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Mari Katayama is a Japanese contemporary multi-media artist born in 1987, working primarily in photography, sculpture, textile and self-portraiture as provocation. Katayama examines ideas of disability, femininity, and physicality through the use of prosthetics and bodily objectification. Following three artwork series, bystander, you’re mine, and High Heel Project, this essay will attempt to examine and contextualize key themes embodied within Mari Katayama’s work, particularly with regard to disability and femininity.

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15

Shigemori Bučar, Chikako. "Picture Postcards Sent from Japan by Austro-Hungarian Navy Members." Tabula, no. 16 (November 29, 2019): 1–22. http://dx.doi.org/10.32728/tab.16.2019.1.

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Many of the old Japanese postcards archived in Slovenia today date from the period between the 1890s and 1920s when Austro-Hungarian Navy members were active and travelled to Japan as a part of their duties. Collectors and users of these postcards were of Slovenian origin. Their postcards were identified in the National and University Library in Ljubljana and in the Maritime Museum “Sergej Mašera” Piran. A postcard in private possession has also been added to the list. The format regulation of postcard printing changed in Japan in 1907 and this is confirmed using the postcards identified in Sl

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16

히우라 사토코. "Imperial Portraits (Goshin’ei) in Korean Elementary Schools under Japanese Colonial Rule." History of Korean Education 38, no. 3 (2016): 137–54. http://dx.doi.org/10.15704/kjhe.38.3.201609.137.

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17

Park, Ju-young. "An Iconographic study on the Portraits of Samyeong Yujeong." Korean Journal of Art History 314 (June 30, 2022): 97–133. http://dx.doi.org/10.31065/kjah.314.202206.004.

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This thesis is a study on the lconic features and changing process of portraits of Samyeong Yujeong in the late Joseon Dynasty. Samyeong Yujeong is the best disciple of Cheonghe Huejeong, during the Japanese Invasion of Korea in 1592, he participated in various activities. He is a loyalist in Joseon royal family and a representative of Buddhist society in the late Joseon, and has received positive reviews from future generations. In the early 18th century, Joseon royal family supported Taeheo Nambung to rebuild Miryang Pyochoongsa shrine, a Confucian shrine given its name by the king and the p

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18

Takemoto, Toshio. "Mémoire et violence dans les Chroniques de l’oiseau à ressort de Murakami Haruki ou de Khalkhin Gol aux camps de Sibérie." Slavica Occitania 33, no. 1 (2011): 373–91. https://doi.org/10.3406/slaoc.2011.1672.

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Memory and Violence in Murakami Haruki’s The Wind-Up Bird Chronicle – from Khalkhin Gol to a concentration camp in Siberia In Murakami Haruki’s Nejimakidori kuronikuru (The Wind-Up Bird Chronicle), some important chapters take place firstly at Khalkhin Gol in 1938 and secondly in a concentration camp in Siberia after the surrender of Japan in 1945. The Japanese portraits reflect the Japanese and Soviet states’ violence. Due to the blind faith in the Japanese sacred power, the leaders do not hear the voice of the people who judge absurd the war that began in 1931. Therefore, the Japanese indivi

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19

Guchinova, E. B. M. "Black Sun and Ring-Fenced Space: Images of Сaptivity in the Art of Sergey Parajanov and Kazuki Yasuo". Critique and Semiotics 37, № 2 (2019): 78–99. http://dx.doi.org/10.25205/2307-1737-2019-2-78-99.

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The article is devoted to the art of two outstanding artists – Sergey Paradzhanov (USSR) and Kazuki Yasuo (Japan). Sregey Paradjanov was convicted and spent five years in camps, Yasuo Kazuki found himself in a Soviet camp for prisoners of war. The humiliating experience of the imprisonment of artists was reflected in their works, which did not cease behind barbed wire. But both artists are united by the theme of human freedom in unfree conditions, where the boundaries of freedom can be outlined by the boundaries of a totalitarian state, and by military order at the front, and by barbed wire of

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20

Min, Gilhong. "Ch'ae Yongsin’s Portrait of Zhu Xi (朱子): A Collaboration Between Confucian Scholars and an Artist to Honor Neo-Confucianism". Korean Journal of Art History 324 (31 грудня 2024): 77–102. https://doi.org/10.31065/kjah.324.202412.003.

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Following the loss of Korea’s national sovereignty in 1910, many Confucian scholars sought to return to the essence of Confucianism, emphasizing self-cultivation and the acquisition of knowledge as a foundation for national restoration. In this context, Pak Manhwan (朴晩煥), who established Yŏngju Chŏngsa (瀛洲精舍) in Chŏngŭp, also constructed Yŏngyangsa (瀛陽祠) and commissioned Ch'ae Yongsin to paint portraits of twelve Confucian sages, including Zhu Xi (朱子). Ch'ae Yongsin not only created the requested portraits in Chŏngŭp but also traveled to other regions upon invitation to produce portraits of Zh

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21

Alvarez, Mariola V. "The Ordinary World of Tomoo Handa and Yoshiya Takaoka." Latin American and Latinx Visual Culture 7, no. 2 (2025): 55–76. https://doi.org/10.1525/lavc.2025.7.2.55.

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Tomoo Handa and Yoshiya Takaoka were leading artists in the Japanese Brazilian immigrant community. This article argues for their art’s contributions to the history of Brazilian modern art and, as a result, a revision of its historiography. Handa and Takaoka emerged as artists in the artistic scene in São Paulo and Rio de Janeiro while people of Japanese descent confronted repression and violence during the Estado Novo (1937–45) and World War II. These historical conditions affected their ability to gather in groups and the subjects they represented. Through an analysis of their portraits, gen

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22

Ros Piñeiro, Iria. "The influence of Japanese kimono on European bustles and their representation in the paintings of the late nineteenth century." Mutual Images Journal, no. 8 (June 20, 2020): 3–20. http://dx.doi.org/10.32926/2020.8.ros.kimon.

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This article investigates the relationship between Europe and Japan at the end of the nineteenth century through the influence of the clothing from both countries. Paintings and portraits from that era are analysed. A typical European clothing piece of that period, the bustle, is proof that little by little the traditional Japanese kimono began to enter the fashion of England and France. In addition, the article also investigates how the Japanese kimono became a luxury item in Europe; however, it was used as a gown-style clothing for the home, losing its original function. At the same time, so

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23

Wajs, Emilia. "Japońska fotografia emancypacyjna, czyli kilka słów o twórczości Nagashimy Yurie." Kultura i Społeczeństwo 68, no. 3 (2024): 103–19. http://dx.doi.org/10.35757/kis.2024.68.3.5.

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The article discusses the issue of depicting the female body in Japanese photography based on the work of Nagashima Yurie. The artist began her career in the nineties of the twentieth century, creating nude self-portraits. In 1996, a well-known Japanese photo critic called her a promoter of the so-called “girl's photography" (jap. onna no ko shashin). However, the term had negative connotations and disregarded the female artists who were referred to by it. Nagashima took up a polemic not only with the academic community, but also with the accepted norms of depicting in photographs. In her work

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24

Vorobeva, D. I. "Ukiyo-e Masters of the Utagawa School: Kuniyoshi and Kunisada. Review of the Second Edition of M. V. Uspensky’s Monograph «Kuniyoshi and His Time»." Yearbook Japan 53 (December 11, 2024): 431–44. https://doi.org/10.55105/2687-1440-2024-53-431-444.

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In early 2024, a Saint Petersburg publishing house and independent publishing partner of the State Hermitage Museum “Arka” published a reedition of the catalogue of the exhibition “Kuniyoshi and His Time. Japanese Prints of the 19th Century. The Utagawa School,” which took place in 1997– 1998. The author of this catalogue is M. V. Uspensky (1953–1997), one of the greatest Russian researchers of Japanese fine art and curator of the museum’s Japanese collection.Following the original, the central figures of the second edition’s narrative are contemporaries and graduates of the Utagawa school, th

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25

Kitahara, Megumi. "Transcending Borders in the Work of Fumie Taniguchi." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (2020): 92–109. http://dx.doi.org/10.1163/23523085-00601006.

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Fumie Taniguchi was a nihonga painter whose modern portraits of women enjoyed widespread acclaim within art circles during the 1930s. Although she moved to America shortly after Japan lost the war and spent the latter half of her life there, her existence was suddenly forgotten. There are almost no extant examples of Taniguchi’s paintings from her American period, however, her autobiographical novels that appeared in Japanese American fanzines provide significant clues that help to trace her life. Through these publications and oral interviews with her family members, this article seeks to int

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26

Kang, Nancy. "After Camp: Portraits in Midcentury Japanese American Life and Politics by Greg Robinson." Journal of Asian American Studies 18, no. 1 (2015): 104–6. http://dx.doi.org/10.1353/jaas.2015.0001.

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27

Zhang, Yuyu. "The Meaning of the Patriarch’s Coming from the West: A Study of Triptych of Three Zen Masters: Linji, Bodhidharma, and Deshan." Religions 15, no. 10 (2024): 1285. http://dx.doi.org/10.3390/rel15101285.

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In the mid-seventeenth century, Chinese Chan master Yinyuan Longqi 隱元隆琦 (Jp. Ingen Ryūki, 1592–1673), accompanied by several disciples, traveled to Japan and established Ōbaku Zen, a new sect of Zen Buddhism in Tokugawa Japan. Ōbaku art, particularly portrait paintings of Ōbaku abbots and their spiritual predecessors, became critical representations of the sect and greatly influenced later Japanese Buddhist art. While much of the existing scholarship focuses on the artistic and stylistic aspects of Ōbaku portraiture, this paper emphasizes its religious context and doctrinal dimensions. Buildin

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28

Howarth, Jeffrey T. "Mountain cartography of Hokkaido in the nineteenth century." Proceedings of the ICA 6 (December 18, 2024): 1–7. https://doi.org/10.5194/ica-proc-6-8-2024.

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Abstract. The nineteenth century was a period of profound cultural and environmental change on the island of Hokkaido, Japan. It was also a period when Japanese cartographers began to incorporate Western methods of terrain representation into their maps. This article sketches a preliminary chronology of Hokkaido maps in order to document changes in methods of terrain representation over this period and to connect mountain cartography to the island’s history of cultural and environmental change. Distinctive patterns of terrain representation in early maps include horizon strip diagrams and port

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29

Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.

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‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Cla

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30

Degler, Janusz. "Witkacy around the World." Tekstualia 1, no. 2 (2014): 105–28. http://dx.doi.org/10.5604/01.3001.0013.5944.

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Fifty years have passed since the publication of the ﬁrst translations of Witkiewicz. Today, the number of translations and the languages in which his work functions is more than impressive. Plays, novels, theoretical dissertations, and philosophical treatises have been translated into 25 languages: English, Arabic, Bulgarian, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, Greek, Spanish, Dutch, Japanese, German, Norwegian, Portuguese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Ukrainian, Hungarian and Italian. There have been over three hundred productions in

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31

Miyao, Daisuke. "Hanako, Rodin, and the Close-up." Journal of Japonisme 8, no. 1 (2023): 1–30. http://dx.doi.org/10.1163/24054992-08010002.

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Abstract Between 1906 and 1911, Auguste Rodin sculpted more than fifty heads, masks, and busts of the Japanese actress Hanako. It was the largest number of portraits that he did with a single model. This essay explores the question why Rodin was so attracted to Hanako and, in particular, to her face. At the time Rodin was creating sculptures of Hanako’s head, the technique of the close-up was being adopted dramatically in filmmaking. Critics were shocked by the excessiveness of the close-up and tried to understand it in terms of ‘new realism’: the close-up modifies reality without eliminating

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32

Lee, James J., and Ewart Thomas. "Comparing the Eyes Depicted in Japanese Portraits of Beautiful Women: The Meiji and Modern Periods." Aesthetic Plastic Surgery 36, no. 3 (2012): 504–10. http://dx.doi.org/10.1007/s00266-011-9857-y.

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33

Hwang, Kun. "Comparing the Eyes Depicted in Japanese Portraits of Beautiful Women: The Meiji and Modern Periods." Aesthetic Plastic Surgery 37, no. 1 (2013): 179. http://dx.doi.org/10.1007/s00266-012-0039-3.

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34

Spickard, Paul. "Book Review: Robinson, After Camp: Portraits in Midcentury Japanese American Life and Politics, by Paul Spickard." Pacific Historical Review 83, no. 3 (2012): 544–46. http://dx.doi.org/10.1525/phr.2014.83.3.544.

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35

Odaka, Konosuke. "Makoto Kumazawa, Portraits of the Japanese Workplace: Labor Movements, Workers, and Managers. [Translated from Japanese into English by Andrew Gordon and Mikiso Hane.]." Journal of Comparative Economics 26, no. 4 (1998): 825–28. http://dx.doi.org/10.1006/jcec.1998.1533.

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36

Hwang, Kun, and Se Ho Hwang. "Anthropometric Comparison of Portraits of Korean and Japanese Beauty in the Late 18th and Early 19th Centuries." Journal of Craniofacial Surgery 16, no. 5 (2005): 790–93. http://dx.doi.org/10.1097/01.scs.0000180013.68233.14.

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37

Markova, N. Yu. "Collecting Drawings and Prints in Russia: From the Beginning to the Present Day. Part II." Art Studies Journal, no. 2 (June 2024): 216–65. https://doi.org/10.51678/2073-316x-2024-2-216-265.

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The article continues the historical outline of graphic art collecting in Russia and is concerned the 19th century. Over the course of this period, the circle of graphic art collectors has been significantly expanding and democratizing, with private individuals taking a leading position in this process; the graphic collections of newly established state museums and educational institutions were formed on the base of private collections. Many collectors demonstrated a decisive turn towards Russian graphics, as well as to thematic collections of prints focused on portraits, views, or book illust

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38

Fulbeck, Kip. "hapa.me – 15 YEARS OF THE HAPA PROJECT." JCSCORE 8, no. 2 (2022): 152–64. http://dx.doi.org/10.15763/issn.2642-2387.2022.8.2.152-164.

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I created The Hapa Project in 2001, photographing self-identified mixed race Asian/Pacific Islanders and asking them to handwrite their response to the question “What are you?” Each individual was photographed as neutrally as possible – unclothed from the collarbone up, without jewelry, glasses, or expression. Each subject was then given the opportunity to list their ethnicities in their own words. For many participants, this was their first opportunity to do so. Fifteen years later, I reached out to the original participants to reshoot their portraits, inviting them to write new persona

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Osipova, M. V. "Visual image of the ainu in paintings and engravings of the 16th - early 19th centuries: historical and ethnographic source or artist’s imagination?" Etnograficheskoe obozrenie, no. 3 (June 15, 2023): 187–205. http://dx.doi.org/10.31857/s0869541523030107.

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The article examines the main visual sources of the 16th - early 19th centuries, in which the images of the Ainu were introduced. The silk and paper scrolls, engravings in the books always attracted attention to the Ainu theme. Many issues in the ethnic history and physical anthropological type of the people, as well as the origins of their ornaments and tattoos remain debatable. The portraits of the Ainu that appeared during the Edo period, made by Japanese, Russian, and European artists and engravers, contributed to the spread of knowledge about this people. However, these visual images ofte

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40

Austin, A. W. "CHERSTIN M. LYON. Prisons and Patriots: Japanese American Wartime Citizenship, Civil Disobedience, and Historical Memory. GREG ROBINSON. After Camp: Portraits in Midcentury Japanese American Life and Politics." American Historical Review 118, no. 2 (2013): 535–37. http://dx.doi.org/10.1093/ahr/118.2.535.

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Yao, Yaya, and Yimeng Jin. "“My Japanese is Blue, Because it Makes Me Blue”: Centering Emotion in Language Practices Through Language Mapping." Studies in Self-Access Learning Journal 15, no. 3 (2024): 529–59. http://dx.doi.org/10.37237/150311.

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Since the social turn in applied linguistics, there has been growing interest in the role of emotion in language practices. This role is especially relevant to self-access language learning in terms of how it influences learner autonomy and motivation. With its focus on autonomy and sociality, self-access learning offers unique affordances for facilitating learner and advisor awareness of emotion in language learning. To this end, this study used an arts-based method, language mapping, for learners to express their language practices in multimodal ways. Language mapping integrates body mapping

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Yao, Yaya, and Yimeng Jin. "“My Japanese is Blue, Because it Makes Me Blue”: Centering Emotion in Language Practices Through Language Mapping." Studies in Self-Access Learning Journal 15, no. 3 (2024): 529–59. http://dx.doi.org/10.37237/150111.

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Since the social turn in applied linguistics, there has been growing interest in the role of emotion in language practices. This role is especially relevant to self-access language learning in terms of how it influences learner autonomy and motivation. With its focus on autonomy and sociality, self-access learning offers unique affordances for facilitating learner and advisor awareness of emotion in language learning. To this end, this study used an arts-based method, language mapping, for learners to express their language practices in multimodal ways. Language mapping integrates body mapping

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43

LIM, Chae-Woo. "A Historical Research on the Character Evaluation of Yi Sun-sin by Go Sang-an(高尙顔): Focusing on Physiognomy and Epidemic". Tae Dong Institute of classic research 51 (31 грудня 2023): 367–406. http://dx.doi.org/10.31408/tdicr.2023.51.367.

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Yi Sun-sin is a national hero who defeated Japanese invasions (Imjin War) and a globally renowned great commander. Recently, there have been various issues raised in our society regarding the standard portrait of Yi Sun-sin. In our academic community, the issue of Yi Sun-sin's appearance has been discussed in connection with the portrait of Admiral Yi Sun-sin. However, there are records from the Joseon Dynasty that describe the appearance of Admiral Yi Sun-sin, but they contain conflicting information. Therefore, the question of how to represent the appearance of Admiral Yi Sun-sin in the futu

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Ogasawara, Yuko. "Contemporary Portraits of Japanese Women. Yukiko TanakaJapanese Women: New Feminist Perspectives on the Past, Present, and Future. Kumiko Fujimura-Fanselow , Atsuko KamedaRe-Imaging Japanese Women. Anne E. Imamura." Signs: Journal of Women in Culture and Society 24, no. 3 (1999): 805–8. http://dx.doi.org/10.1086/495386.

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45

Simonova-Gudzenko, E. K. "Symbolism in Shiba Kōkan’s (1738/1747–1818) Painting The Meeting of the Three Sages of Japan, China, and the West." Russian Japanology Review 7, no. 1 (2024): 78–109. http://dx.doi.org/10.55105/2658-6444-2024-1-78-109.

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The article is devoted to the study of a little-known scroll by the 18th century Japanese artist Shiba Kōkan1 . The provenance of the scroll and the reasons for its poor study are considered. The main attention is paid to the analysis of the history of the scroll and the symbolism of three elements of images on it: wave, triad, and flame-fire.These three elements are important components of the Japanese cultural and artistic code, forming it since ancient times while changing over time and retaining their significance in contemporary culture. The multiple meanings of the symbolism of the image

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Toropygina, M. V. "The Complete Works of World Literature (Sekai Bungaku Zenshū, 1927–1932) by Shinchōsha publishing house in the context of the history of Japanese book." Japanese Studies in Russia, no. 1 (April 11, 2023): 94–110. http://dx.doi.org/10.55105/2500-2872-2023-1-94-110.

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The last years of the 1920s and the beginning of the 1930s are known as the “era of one-yen books” in the history of Japanese book printing. One-yen books were serial subscription publications, with the price of one yen per volume. The first such publication was the Complete Works of Contemporary Japanese Literature (Kindai Nihon Bungaku Zenshū), launched by Kaizōsha publishing house in 1926. The series was very successful with at least 250,000 subscribers. The “one-yen editions race” was initiated: many publishing houses began releasing their own one-yen series as early as the following year.

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Aoki, Darren J. "Remembering ‘The English’ in four ‘memory moment’ portraits: navigating anti-Japanese discrimination and postcolonial ambiguity in mid-twentieth century Alberta, Canada." Rethinking History 24, no. 1 (2020): 29–55. http://dx.doi.org/10.1080/13642529.2019.1703451.

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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (1987): 510–18. http://dx.doi.org/10.2307/1159896.

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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa.

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Miller, Mara. "Identity, Identification, and Temperament in Emblematic Portraits of Edo Japanese Literati Artists Taiga & Gyokuran: A Philosophical and Theoretical Analysis of the Ming-Qing Legacy." MING QING YANJIU 15, no. 01 (2007): 65–116. http://dx.doi.org/10.1163/24684791-01501004.

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Шапченко, Юлия. "Дальневосточные зарисовки Александра Яковлева". Acta Polono-Ruthenica 2, № XXIV (2019): 43–53. http://dx.doi.org/10.31648/apr.4460.

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Alexandre Yakovlev was a famous Russian painter, graphic and theatre artist, a graduate from the Imperial Academy of Arts and a member of the “World of Art”. In 1917 by the order of the Academy (material collection to decorate interiors of the Kazanian railway station) Yakovlev went to Beijing, then he traveled a lot throughout China, Mongolia and Japan. He explored Chinese and Japanese theaters, as a result he made many ethnographic sketches, portraits and photographs. He arranged the exhibition of his drawings in Shanghai (in 1919). Finding out about the revolution in Russia he emigrated to

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