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Journal articles on the topic 'Painting, Japanese Japanese poetry Japan'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

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

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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a

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Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching Classical Japanese Haiku Poetry through the Perspective of Ink Painting Art and Application to Teaching Foreign Literature for Literature Pedagogy Students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (2021): 52–60. http://dx.doi.org/10.52296/vje.2021.69.

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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a

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3

Baekeland, Frederick, Shuji Takashina, J. Thomas Rimer, and Gerald D. Bolas. "Paris in Japan: The Japanese Encounter with European Painting." Monumenta Nipponica 43, no. 3 (1988): 386. http://dx.doi.org/10.2307/2385066.

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4

Belova, Darya Nikolaevna. "Female Images in Chinese and Japanese painting." Культура и искусство, no. 5 (May 2021): 114–38. http://dx.doi.org/10.7256/2454-0625.2021.5.35526.

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This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X &ndash; XVII centuries and Japanese woodblock printing of the XVII &ndash; XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of f

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Fitriani, Indah, Lina Meilinawati, and N. Rinaju Purnomowulan. "Otaku Subculture Character in Japanese Poetry Anthology Otaku Senryu." Jurnal Humaniora 28, no. 2 (2016): 176. http://dx.doi.org/10.22146/jh.v28i2.16400.

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This paper focuses on one the subcultures existing in Japan, known as otaku. Subculture is a forum for youth community media and technology enthusiasts, like manga (Japanese comics), anime (Japanese cartoons), video games, computers, and the Internet. In the process, otaku who initially labeled negatively has contributed significantly to Japan as the most advanced industrialized country in Asia, not only in the field of culture, but also in the fields of science and economics. Using data from Japanese poem anthology (senryu) in Otaku Senryu(OS), this paper focuses on 1) distinctiveness of otak

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Takeuchi, Melinda. "“True” Views: Taiga's Shinkeizu and the Evolution of Literati Painting Theory in Japan." Journal of Asian Studies 48, no. 1 (1989): 3–26. http://dx.doi.org/10.2307/2057661.

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Few cultures had as rich a vocabulary for pictures of specific places as did eighteenth-century Japan. Why then did yet another word, shinkeizu (literally “true-view pictures”), come into being in the late eighteenth century? The answer is that none of the existing terms satisfactorily articulated the ideological essence of a new kind of painting advocated by a group of artists who sought to incorporate into their work styles and concepts associated with the art of the Chinese literatus. These Japanese masters came to constitute a school known as Nanga (the Japanese interpretation of the Chine

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7

Erber, Pedro. "Art and/or Revolution: The Matter of Painting in Postwar Japan." ARTMargins 2, no. 1 (2013): 37–57. http://dx.doi.org/10.1162/artm_a_00032.

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Japanese art critics of the 1950s perceived the locus of a new materialist aesthetics in the new trends of informal abstraction emanating from the United States and France. This revealed a stark contrast with the idea of individual freedom that informed North-American discourse on Abstract Expressionism. Focusing on the writings of Miyakawa Atsushi, Haryū Ichirō, and Segi Shinichi, this article explores the political significance of the question of matter in Japanese postwar art criticism and indicates its importance for the subsequent development of avant-garde art in 1960s Japan.

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Song, Joon Il. "The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein." Journal of Flm Arts and Film Studies 10, no. 3 (2018): 45–54. http://dx.doi.org/10.17816/vgik10345-54.

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The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.

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

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"We can find many seeds of crystallography in Japanese culture. Most of the family crests have symmetry elements such as rotation axes and mirror symmetry elements. Sekka-zue, a picture book of 86 kinds of crystals of snow, was made by Toshitura Doi, who is a feudal lord in Edo-period and he observed snow using a microscope in nineteenth century. In recent years, people enjoy to make crystal structures, polyhedrons, carbon nanotube, quasicrystal etc. by origami, the art of folding paper [1]. In the field of science, the Japanese crystallography has contributed to explore culture and art. An ex

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Dyakonova, Elena M. "The Саnon and the Commentary. Exegesis in Japanese Classical Poetry". Studia Litterarum 5, № 3 (2020): 104–27. http://dx.doi.org/10.22455/2500-4247-2020-5-3-104-127.

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The study of classical religious and literary texts was the main trend of the Far Eastern traditional culture. Exegesis prompted a specific vision of philosophy, literature, and science. Examining the ties between classical texts and their commentaries is important for the better understanding of the development of the Far Eastern civilizations, including Japanese. Japanese commentaries developed, first, around central religious texts of Buddhism, Shinto, and writings by Confucius, and, second, around literary texts. This article mostly examines comments on poetic monuments of medieval Japan.

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Foxwell, Chelsea. "The Painting of Sadness? The Ends of Nihonga, Then and Now." ARTMargins 4, no. 1 (2015): 27–60. http://dx.doi.org/10.1162/artm_a_00104.

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Nihonga (literally “Japanese painting”) is a term that arose in 1880s Japan in order to distinguish existing forms of painting from newly popularized oil painting, and even today it is a category of artistic production apart from contemporary art at large. In this sense, nihonga is the oldest form of a broader worldwide category of “tradition-based contemporary art.” While nihonga was supposed to encompass any form of “traditional” painting, however, in practice it was held together by a recognizable style. When nihonga stopped fulfilling certain material or stylistic criteria, it ceased to be

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Plate, Maria Katharina, Sigrid Eyb-Green, and Wolfgang Baatz. "The Colour of Pine Needles and Nightingales. A Traditional Japanese Copper-based Green Pigment." Restaurator. International Journal for the Preservation of Library and Archival Material 41, no. 4 (2020): 253–75. http://dx.doi.org/10.1515/res-2020-0011.

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AbstractThe article describes a historic Japanese green pigment which was identified in a painting attributed to the Kano school, dating to the Edo period. According to literature, malachite – which is the common translation of the Japanese term rokushō – has been the most widely used green pigment in Japan over a long period of time. Its colour shade could be modified by the use of different degrees of grinding and by heating the pigment. The green paint layer found in the painting was examined using XRF, SEM-EDS and XRPD, and cross sections. Examinations revealed a heterogeneous paint layer

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Fedianina, Vladlena A. "The Presentation of Tendai Teachingin Jien’s Poetry." Voprosy Filosofii, no. 2 (2021): 165–74. http://dx.doi.org/10.21146/0042-8744-2021-2-165-174.

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This study analyzes how Buddhist philosophical ideas in Chinese and Indian scriptures were interpreted to make them more understandable in mediaeval Japan. It is based on the textual analysis of a cycle of poems entitled Kasuga hyakushu sō, composed by the Tendai monk Jien (1155‒1255). Jien consciously uses the poetic language of waka to express complex philosophical concepts. A textual analysis of Kasuga hyakushu sōōōо (circa 1218) sheds light on some seminal features of Japanese Buddhism including the place of Japanese deities (kami) in the system of Buddhist teaching, the time-spatial conc

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Kim, Yongcheol. "Sino󰠏Japanese Alliance Exhibition of Painting in 1920’s and the Intention of Japan." Journal of Japanology 42 (May 30, 2016): 141–66. http://dx.doi.org/10.21442/djs.2016.42.07.

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15

Klein, Bettina, and Stephen Addiss. "The World of Kameda Bosai: The Calligraphy, Poetry, Painting and Artistic Circle of a Japanese Literatus." Monumenta Nipponica 40, no. 4 (1985): 462. http://dx.doi.org/10.2307/2384841.

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Kuchai, Tetiana. "Aesthetic Education of Primary School Pupils as an Integral Part of the National System of Continuous Art Education in Japan." Comparative Professional Pedagogy 4, no. 3 (2014): 83–88. http://dx.doi.org/10.2478/rpp-2014-0040.

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Abstract The article examines aesthetic education of primary school pupils as an integral part of the national system of continuous art education in Japan. One of the most important traditional means of aesthetic education in Japan, according to L. Tsaryova is considered nature. Analysis of the scientific literature by domestic and foreign scientists suggests that instead of collective worship the Japanese established habits that help people develop artistic taste. Having considered the traditions of: tea ceremony, admiring nature; writing, which doesn’t differ from painting and so on, one sho

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Čapková, Helena. "The Mystical Spirit of Japan – Stefan Łubieński and Transnational Artistic Networks in 1920s Japan." Studia Religiologica 53, no. 1 (2020): 15–31. http://dx.doi.org/10.4467/20844077sr.20.002.12505.

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Stefan Łubieński (1893–1976), composer, fine artist, diplomat, spiritual seeker, and thinker, was a Polish nobleman, follower of Anthroposophy and author of such books as Ways to Spiritual Light and Man between Microcosm and Macrocosm. With his first wife, Zina Łubieńska, he resided in Japan in the first half of the 1920s. Although Łubieński published his autobiography and the names of the two Poles were mentioned at that time, the time they spent in Japan has not yet been analysed by scholars. This article is an attempt to unravel the Łubieńskis’life in Japan and show how it is placed in the

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18

Niedermaier, Jeffrey. "The Jesuits in Japan and Asian Poetries in Moveable Type." Journal of World Literature 5, no. 1 (2020): 132–57. http://dx.doi.org/10.1163/24056480-00501600.

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Abstract In 1600, Japan-based Jesuits printed a moveable-type edition of the Wakan rōeishū (The Collection of Japanese and Chinese resonant verse), a bilingual anthology of classical Japanese and Chinese poetry that had long been an emblem of Japan’s literary world. Made to educate Japanese and foreigners alike in the scripts, languages, and literatures of Japan, the Amakusa Rōeishū was a component of an educational and evangelizing mission. Although it was neither translated into European languages nor widely circulated, the Amakusa Rōeishū represents an alternative to prevailing conceptions

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19

Zulnaidi, Zulnaidi, and Erna Januarini. "THE FORM AND MEANING OF IDIOM RELATED HUMAN BODY IN JAPAN AND MINANGKABAU LANGUAGE." Jurnal Kata 1 (May 21, 2020): 44. http://dx.doi.org/10.22216/kata.v1i0.5070.

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<em>This study discusses Japanese and Minangkabau idioms that relate to members of the human body, namely the head, face and hands. This research was conducted to analyze the form of idioms using a semantic approach with idiomatic theory. The method used in this paper was descriptive analysis of qualitative. Data sources were observed from the book that contained Japanese idioms and language Minangkabau. Based on the results of many studies. It is found that idioms with limbs that declare of good feelings in psychological feelings and personality feelings. In Japanese there is the idiom

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20

Marcon, Federico. "The ‘book’ as fieldwork: ‘textual institutions’ and nature knowledge in early modern Japan." BJHS Themes 5 (2020): 131–48. http://dx.doi.org/10.1017/bjt.2020.9.

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AbstractThe analysis of a painting attributed to the rangaku scholar Shiba Kōkan is the occasion to recover the genesis of a stereotypical narrative of Japanese scientific modernization and to survey the role of books in the intellectual life of Tokugawa naturalists. For the practitioners of materia medica (honzōgaku), the knowledge of nature began and ended with, and in between continuously referred to, books – Chinese, Japanese and later ‘Dutch’. Canonical texts gave scholars terminology, taxonomy, philosophical justification and legitimation, but not all books had equal value in affecting s

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21

Arimura, Rie. "Nanban Art and its Globality: A Case Study of the New Spanish Mural The Great Martyrdom of Japan in 1597." Historia y sociedad, no. 36 (January 1, 2019): 21–56. http://dx.doi.org/10.15446/hys.n36.73460.

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Traditionally, nanban art has been seen as a simple product of exchanges between Japan, Portugal and Spain. The historiography tends to solely focus on artistic contributions of the Society of Jesus due to the foundation of a painting school in Japan. Thereby, the relevance of the Indo-Portuguese route in the cross-cultural history has been emphasized. However, the research advances of the last decades identify that nanban works consist of artistic inheritances from diverse regions of the world which were connected through the Portuguese and Spanish transoceanic routes. Similarly, Japanese nan

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22

Borgen, Robert, and Ivo Smits. "The Pursuit of Loneliness: Chinese and Japanese Nature Poetry in Medieval Japan, ca. 1050-1150." Monumenta Nipponica 51, no. 4 (1996): 464. http://dx.doi.org/10.2307/2385420.

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Huey, Robert N., and Ivo Smits. "The Pursuit of Loneliness: Chinese and Japanese Nature Poetry in Medieval Japan, Ca. 1050-1150." Journal of Japanese Studies 23, no. 2 (1997): 482. http://dx.doi.org/10.2307/133180.

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Genova, Pamela A. "Crossing Cultural and Aesthetic Frontiers: Yves Bonnefoy and the Dynamics of Haiku." Irish Journal of French Studies 15, no. 1 (2015): 25–40. http://dx.doi.org/10.7173/164913315817039216.

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Ever since the opening of the ports of Japan to the West in 1854, French authors have participated in a fruitful dialogue of East-West exchange, to which the work of Yves Bonnefoy adds an engaging dimension. Bonnefoy, who reads Japanese and has spent time in Japan, has carried on throughout his career an equivocal relationship with Japanese aesthetics, especially notable in his complex views on haiku. Early on, Bonnefoy critiqued the form as a hollow discursive structure inattentive to the crucial referential relationship between art and world that he underscored in his own work as primary. Ye

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Kensuke, Koshida. "Globalization of Tanka: How Twitter Contributes to Development of Traditional Japanese Poetry." Intercultural Relations 4, no. 2(8) (2021): 137–49. http://dx.doi.org/10.12797/rm.02.2020.08.09.

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Tanka poems are a representative type of classical Japanese poetry with a long history. Beginning as Waka, which were widely composed starting in the 7th century, today they continue to be produced by people of diverse backgrounds while retaining their ancient characteristics. In other words, tanka poems can be regarded as a valuable part of Japanese cultural heritage that are loved and enjoyed in contemporary Japan. My paper focuses on the current state of modern tanka and the significance of tanka in contemporary society. In the processes of globalization, the Internet (for example, Tw

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Kataoka, Ryuho, and Shigeru Kazama. "A watercolor painting of northern lights seen above Japan on 11 February 1958." Journal of Space Weather and Space Climate 9 (2019): A28. http://dx.doi.org/10.1051/swsc/2019027.

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A 61 years old watercolor painting of red aurora was recently provided from a Japanese citizen, and it contributed to understand the detailed time evolution around the peak time of the large magnetic storm on 11 February 1958. The painting gives information of the elevation angle of the red aurora seen from low latitude (27.4° magnetic latitude) at 1205–1225 UT during the beginning of the recovery phase of the magnetic storm. Combined with the hand-made sketch of the same red aurora seen from the Abashiri Local Meteorological Office (located at 34° magnetic latitude) at 1215 UT, the position o

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JEONG, Kyungjin. "A Theory of Poetry by Gion Nankai, the Pioneer of Japanese Literary Painting : Focusing on 『詩学逢原』(1763)". Comparative Japanese Studies 51 (30 червня 2021): 173–92. http://dx.doi.org/10.31634/cjs.2021.51.173.

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MACKINTOSH, JONATHAN D. "Bruce Lee: A visual poetics of postwar Japanese manliness." Modern Asian Studies 48, no. 6 (2013): 1477–518. http://dx.doi.org/10.1017/s0026749x13000437.

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AbstractFist of Fury, starring Bruce Lee, debuted in Japan in 1974. Whilst its critical reception reflected its box-office success, a complex emotional reaction is nevertheless detectable towards the film's unsympathetic portrayal of the Japanese. This paper will explore this reaction and suggest that a post-colonial angst was piqued, one that betrayed fundamental shifts in current racial, erotic, cultural, moral, and historical understandings of Japanese manliness. At one level, the response to Lee is a hermeneutic cue into the manifold ways that this angst was constructed through contesting

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Iida, Atsushi. "The value of poetry writing." Scientific Study of Literature 2, no. 1 (2012): 60–82. http://dx.doi.org/10.1075/ssol.2.1.04iid.

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The aim of the current study is to evaluate poetry writing as a way of second language (L2) learning by exploring the interaction between academic prose and the effect of writing Japanese poetry — haiku. This article first describes some critiques of using poetry in educational settings and discusses the nature of poetry writing at the tertiary level in L2 contexts. The study was designed as an intervention in which 20 EFL students in Japan produced pre- and post-argumentative essays and L2 haikus. The data obtained was submitted to statistical analysis, which showed that there was a significa

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Wang, Ching-Ling. "True Identity." Rijksmuseum Bulletin 66, no. 2 (2018): 100–119. http://dx.doi.org/10.52476/trb.9750.

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In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconogra

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Sharma, Manisha. "COLOURIMAGERY IN THE HAIKU POEMS OF IMAGISTS POETS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3541.

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Imagism was a movement in early 20th century Anglo-American poetry that favoured precision of imagery and clear, sharp language. Imagists stressed on the direct treatment of the subject matter and strictly adhered to the rule that even a single word was not used unnecessarily. Imagists used the exact word instead of decorative words and rejected most 19th century poetry as cloudy verbosity. Imagist poets were influenced by Japanese Haiku, poems of 17 syllables which usually present only two juxtaposed images. Ezra Pound has made a conscious study of the Japanese Haiku. According to Pound, Japa

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Kerr, Douglas. "‘King Lear’ as an Experimental Musical: the Japanese Production of ‘Ria O’." New Theatre Quarterly 18, no. 2 (2002): 161–75. http://dx.doi.org/10.1017/s0266464x02000246.

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The avant-garde Japanese company Ban'yu Inryoku was formed following the death in 1983 of the inspirational writer and director Shuji Terayama, who has subsequently become a cult figure. This article explores his influence – both limiting and liberating – on the production by one of the founders of the company, his disciple J. A. Seazer, of an experimental musical version of King Lear, as Ria O. Douglas Kerr places the production – seen in England during the Japan Festival of 1991 – within the context of evolving attitudes towards the avant-garde theatrical movement in Japan during the late 's

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Adal, Raja. "Aesthetics and the End of the Mimetic Moment: The Introduction of Art Education in Modern Japanese and Egyptian Schools." Comparative Studies in Society and History 58, no. 4 (2016): 982–1003. http://dx.doi.org/10.1017/s0010417516000505.

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AbstractLike most modern institutions in nineteenth-century non-Western states, modern school systems in 1870s Japan and Egypt were initially mimetic of the West. Modeled on the British South Kensington method and on its French equivalent, drawing education in Japanese and Egyptian schools was taught not as an art but as a functional technique that prepared children for modern professions like industrial design. By the beginning of the twentieth century, the South Kensington method of drawing education had lost its popularity in Europe, but more than a decade before its decline Japanese and Eg

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Tornier, Etienne. "True or False: Japonisme and the Historiography of Modern Design." Journal of Japonisme 2, no. 2 (2017): 117–32. http://dx.doi.org/10.1163/24054992-00022p01.

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While most of the artistic trends of the late nineteenth century were indebted to the arts of Japan, their influence on western decorative arts – unlike painting – has only been acknowledged in the last quarter of the twentieth century. Early design historians, such as Nikolaus Pevsner (1936), hardly mentioned Japan in their works, although they recognized the importance of Christopher Dresser and the Arts & Crafts movement. Though this absence has been most commonly attributed to this authors’ involvement in contemporary design, this paper argues that their studies relied on many of their

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Tret'yakova, M. "FROM CANON TO DESIGN BY THE EXAMPLE OF JAPANESE INTERIOR." Technical Aesthetics and Design Research 1, no. 2 (2020): 26–35. http://dx.doi.org/10.34031/2687-0878-2019-1-2-26-35.

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In accordance with V. F. Sidorenko, ‘Canon-culture’ is ‘negative definition of Design’, because the Design always produces new forms and breaks the Canon. However the fact that the Design is always strives for new forms as a rule becomes the cause of superficial understanding of own traditional culture among designers. In turn it leads to loss of cultural identity what we can see in design in our country. The purpose of the article is to trace ‘positive’ connection between the Design and the Canon by the example of Japanese interior. We believe that it will help us to find deeper cultura

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Fitriani, Indah. "Haiku dan Senryu dalam Puisi Bahasa Indonesia." Metahumaniora 8, no. 3 (2018): 360. http://dx.doi.org/10.24198/metahumaniora.v8i3.20715.

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AbstrakHaiku yang merupakan puisi tradisional Jepang dikatakan sebagai genre puisi yang sedang digiatkan di Indonesia. Tidak hanya penyair, orang awam pun banyak yang tertarik dengan genre puisi Jepang ini. Haiku memiliki 17 suku kata yang terbagi dalam pola 5-7-5, terdiri atas 5 suku kata pada larik pertama, 7 suku kata pada larik kedua, dan 5 suku kata pada larik ketiga. Selain itu, yang menjadi ciri khas haiku adalah adanya kigo (kata-kata penanda musim) dan kireji (kata-kata pemotong yang menunjukkan jeda). Berkenaan dengan musim, Jepang dan Indonesia tentu memiliki musim yang berbeda. Kig

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Fitriani, Indah. "Haiku dan Senryu dalam Puisi Bahasa Indonesia." Metahumaniora 8, no. 3 (2018): 360. http://dx.doi.org/10.24198/mh.v8i3.20715.

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AbstrakHaiku yang merupakan puisi tradisional Jepang dikatakan sebagai genre puisi yang sedang digiatkan di Indonesia. Tidak hanya penyair, orang awam pun banyak yang tertarik dengan genre puisi Jepang ini. Haiku memiliki 17 suku kata yang terbagi dalam pola 5-7-5, terdiri atas 5 suku kata pada larik pertama, 7 suku kata pada larik kedua, dan 5 suku kata pada larik ketiga. Selain itu, yang menjadi ciri khas haiku adalah adanya kigo (kata-kata penanda musim) dan kireji (kata-kata pemotong yang menunjukkan jeda). Berkenaan dengan musim, Jepang dan Indonesia tentu memiliki musim yang berbeda. Kig

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Miller, Alison J. "An Amalgamation of Power and Paint: Gajin Fujita, Los Angeles Street Art, and Images of Edo Japan." Asian Diasporic Visual Cultures and the Americas 5, no. 3 (2019): 329–56. http://dx.doi.org/10.1163/23523085-00503005.

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The paintings of Gajin Fujita (b. 1972) express the urban Asian diasporic experience in vivid images filled with historic and contemporary cultural references. Creating an amalgamation of contemporary sports figures, hip-hop culture, historic Japanese painting conventions, street art, and the visual language of Edo Japan (1600–1868), Fujita reflects his diverse experiences as a citizen of twenty-first century Los Angeles in his paintings. This article introduces the artist and provides a nuanced examination of his works vis-à-vis an understanding of the larger issues addressed in both Edo arti

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Fadli, Zaki Ainul, and Luqyana Salsabila. "Struktur Fisik Dan Batin Puisi Kimi Shinita Mou Koto Nakare Karya Yosano Akiko." KIRYOKU 4, no. 2 (2020): 110–17. http://dx.doi.org/10.14710/kiryoku.v4i2.110-117.

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(Title: Physical and Inner Structure of the Poetry of Kimi Shinita Mou Koto Nakare by Yosano Akiko) This research examines Japanese poem shintaishi, Kimi Shinita Mou Koto Nakare by Yosano Akiko using structural and feminism approach. This research aims to understand the structurally context and the meaning of feminism contained in the poem. Yosano Akiko, whose real name is Shou Hou, is the first famous Japanese female poet in the late Meiji era. At that time when Japan was struck by war, the position of women in social and political life had shifted the view that physically women are not stron

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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phe

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Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan." Arts 8, no. 2 (2019): 64. http://dx.doi.org/10.3390/arts8020064.

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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by

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Trubnikova, Nadezhda N. "Incarnated Bodhisattva: A Record of the Commemoration of Princess Sonshi." Study of Religion, no. 2 (2019): 66–76. http://dx.doi.org/10.22250/2072-8662.2019.2.66-76.

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The article describes one of the examples of the ganmon genre in Japanese Buddhist literature: the text of Yoshishige-no Yasutane (933–1002), compiled in 985 for the commemoration rite of Princess Sonshi (addressee of Sanbō ekotoba) and included into the Honchō Monzui collection. In this ganmon, a noble woman appears as the incarnation of bodhisattva: although in childhood and youth the princess was a priestess of Kamo shrine, then became the sovereign's wife and only became a nun shortly before her death, her life choice is described as moving along the path of the Buddha to the rebirth in Pu

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

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Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts

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Tao, Cai. "Guan Liang, Tan Huamu, and Ding Yanyong: Their Modern Art Practice and the Phenomenon of the “Tōyō Review”." China and Asia 2, no. 1 (2020): 3–56. http://dx.doi.org/10.1163/2589465x-00201002.

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During the late Taishō period, three Guangdong-born Chinese artists, Guan Liang 關良 (1900–1986), Tan Huamu 譚華牧 (1896–1976), and Ding Yanyong 丁衍庸 (1902–1978), were studying in Tokyo, Japan. After their return to China, they engaged daily in a kind of cross-media practice in oil and ink paintings that serves to remind us of the need to rethink the cultural experiment that China’s modern art movements have undertaken since the 1920s, and which has thus far been overlooked. In the face of the sudden rise of attention towards literati paintings in the Japanese art world, and in the midst of the West

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Polschikova, N. V., and N. V. Kovbasyuk. "PHILOSOPHY AND ARCHITECTURE OF TEA HOUSES IN JAPAN." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 166–78. http://dx.doi.org/10.31650/2519-4208-2020-20-166-178.

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Tea ceremonies have evolved a great deal since they first got their start, and as the ceremonies have grown and shifted in purpose, so have the tea houses that hold them. Japanese tea house, Chashitsu in Japanese, is where chado, the tea ceremony takes place, which expresses Japanese sentimentality and aesthetics through the act of drinking tea. Chashitsu is truly the product of all of the traditional Japanese crafts combined and sophisticated.As tea began to grow in popularity, tea ceremonies became a source of entertainment for members of the upper class who could afford to gamble, read poet

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Jae-Gon Suh. "A Study on the Japanese Poetry Circle after the Outbreak of the Japan-China War – Focusing on the Special Issue in War of Nihon Shidan –." Journal of the society of Japanese Language and Literature, Japanology ll, no. 83 (2018): 331–51. http://dx.doi.org/10.21792/trijpn.2018..83.016.

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Sorensen, Joseph T. "Poetry as Image: The Visual Culture of Waka in Sixteenth-Century Japan. Tomoko Sakomura. Japanese Visual Culture 16. Leiden: Brill, 2016. xi + 260 pp. $128." Renaissance Quarterly 71, no. 1 (2018): 256–57. http://dx.doi.org/10.1086/697783.

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Moriuchi, Emi, and Michael Basil. "The Sustainability of Ohanami Cherry Blossom Festivals as a Cultural Icon." Sustainability 11, no. 6 (2019): 1820. http://dx.doi.org/10.3390/su11061820.

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Background: One important form of sustainability is the continuation of culture and cultural practices. This study examined the case of Japanese Ohanami or cherry blossom festivals. Historically, Ohanami focused on the cherry blossom as a symbol of spring’s arrival, where communal aspects, consumption of sake and seasonal foods, painting or photography, and pilgrimages to sacred sites were used to celebrate the ephemeral aspects of blossoms, spring, and life. Methods: This study examines how cherry blossom festivals are celebrated and understood and how these celebrations are changing. Results

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Park Seungjun. "Reconsideration of Pro-Japanese Poet Kim Yong-jae -Focusing on The Criticism and Poetry of Kim Yong-jae After Forced Return Home from Japan in 1937." Korean Poetics Studies ll, no. 53 (2018): 153–79. http://dx.doi.org/10.15705/kopoet..53.201802.005.

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Ph.d, Nelvitia Purba. "The Malay Community Local Wisdom of Shame Culture in Legal Perspective to Prevent Corruption in North Sumatera." International Journal of Social Sciences and Humanities Invention 5, no. 7 (2018): 4864–68. http://dx.doi.org/10.18535/ijsshi/v5i7.05.

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Head of North Sumatra High Prosecutor Office stated that in 2016, there was 147 cases of corruption which reached the investigation stage, 72 cases was in ongoing investigation stage, 27 cases was at the stage of prosecution in the police and investigation to prosecutor and 41 cases to be processed and when completed will be delegated to the court. The large number of corruption cases in North Sumatera also made it the second most corrupt province in Indonesia based on the investigation of corruption cases handled by the North Sumatra High Prosecutor. Japan in 2012 was ranked 17th with a score

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