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Journal articles on the topic 'Japanese Small art works'
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1
Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.
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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).
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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.
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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).
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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 phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.
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Nguyen Thi Thanh, Nga. "A SURVEY ON THE RESEARCH OF TRADITIONAL CULTURAL SYMBOLS APPEARED IN THE Y.KAWABATA NOVELS IN VIETNAM." Journal of Science Social Science 65, no. 11 (November 2020): 54–63. http://dx.doi.org/10.18173/2354-1067.2020-0071.
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Kawabata is one of Japan’s leading writers. Kawabata’s works are a place to preserve and preserve old traditional values becoming a miraculous bridge to bring Japan across the ocean to the whole world, and to bring the world to the land of beautiful cherry blossoms. Therefore, his works have been the object of many large and small research projects domestically and internationally. Within the scope of the article, we have conducted surveys of works and articles on traditional cultural symbols in Kawabata’s novels under the following angles: Biography, Poetry, Psychoanalysis and Culture, thereby, affirming the talent and the unique art style of Kawabata. Beauty is at the heart of culture and art in Japan so Kawabata’s writing point of view also focused on the ultimate beauty including its expression and the way in which it is expressed.
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Cynarski, Wojciech J. "Panorámica sobre las artes marciales polacas." Revista de Artes Marciales Asiáticas 3, no. 3 (July 19, 2012): 8. http://dx.doi.org/10.18002/rama.v3i3.373.
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<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">The purpose of this study is to explain the revival of Polish martial arts from the perspectives of cultural sociology, the sciences of physical culture, and the humanistic theory of martial arts. The Polish Martial Arts (<em>Polskie Sztuki Walki</em>) are a subject still requiring serious scientific examination, even in Poland. There are few works concerning the history of Polish weapons, and most only describe techniques for wielding specific types of edged weapons. Nevertheless, there is a large group of enthusiasts trying to restore and cultivate the old Polish tradition, a tradition with heavy emphasis on the art of fencing. The author knows many of the people and facts presented here, from personal observation and from direct participation in these arts. As a disciple of the late Master Yoshio Sugino (10th-dan Kobudo Katori Shinto-ryu), he fought against the Polish saber champion, and he has taken part in joint exhibitions of Polish and Japanese fencing.</span></span></span></p>
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Nakashima, Masumi, and David A. Ziebart. "Did Japanese-SOX have an impact on earnings management and earnings quality?" Managerial Auditing Journal 30, no. 4/5 (May 5, 2015): 482–510. http://dx.doi.org/10.1108/maj-06-2013-0890.
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Purpose – The purpose of this paper is to investigate whether Japanese Sarbanes – Oxley Act (J-SOX) impacted earnings management and earnings quality of public firms in Japan. Design/methodology/approach – This archival study compares earnings management and earnings quality of firms that disclose at least one material weakness with a sample matched on size and industry without a material weakness. Findings – The authors investigate whether the differences in regulations, corporate governance and regulatory environment acceptance influence earnings management and earnings management of Japanese listed firms, relative to findings in the USA. They found the Japanese results to be slightly different from the results found in previous USA studies. First, the time-series observations suggest that while accruals management and real earnings management remained unchanged for control firms, accruals management and real earnings management increased for material weaknesses disclosing firms following J-SOX. The regression analyses suggest that accruals management for both the groups is significant in the pre-and post-J-SOX periods, but that real earnings management declined for both the groups post-J-SOX. Second, while, both accruals quality and accuracy of cash flow predictions improved in the post-J-SOX period. Research limitations/implications – The sample of Japanese firms disclosing a material weakness is small because the number of firms that disclose internal control deficiencies is decreasing in Japan. The authors have no evidence that their results are not generalizable to a larger sample and leave this for future research. Practical implications – The authors provide evidence that J-SOX, which does not have a direct reporting system, does not constrain earnings management. Their results drive the regulator to reconsider whether the reporting system works in the Japanese business environment. Additionally, their results show that J-SOX has no effect on earnings management; thus, regulators need to reconsider the governance function of directors and internal auditors. This paper communicates to the world how J-SOX works in Japan through changes in earnings quality and management post J-SOX and the root problems. Originality/value – This paper is the first (of which the authors are aware) to examine whether J-SOX impacted both earnings management and earnings quality in Japan. This paper discusses how the differences in regulations and corporate governance as well as the differences between USA-SOX and J-SOX may explain the results observed in Japan. This paper provides results regarding whether J-SOX improved earnings quality.
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汪一舟, 汪一舟. "美人移動，江南到江戶：狩野探幽對中國仕女圖的傳移模寫." 中正漢學研究 37, no. 37 (June 2021): 075–114. http://dx.doi.org/10.53106/2306036020210600370003.
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<p>明代中國繪畫傳至日本，成為江戶時代重要的創作素材。江戶早期狩野派畫家狩野探幽經多年蒐集和摹寫，繪製了大量以中國古畫為主的縮小摹本，稱作「探幽縮圖」。用於繪畫素材、鑑定筆記及門派傳承等，影響深遠。中國女性是其中重要題材。基於皆川三知關於「縮圖」中多於107幅「唐美人」圖的統計，本文從中日跨文化角度探討「縮圖」中國仕女圖的摹寫方法、來源和運用，並試論日本江戶時代對中國女性題材繪畫及其作偽的受容。發現「縮圖」多擅仕女畫的明代蘇州「吳門」畫家唐寅、仇英款，也有不長於仕女題材的江南名家如元代趙孟頫、趙雍，指出「蘇州片」為其重要來源。再以耕織圖、西王母圖為案例，探討了跨文化背景下中國女性圖像雜糅及重新詮釋問題。</p> <p> </p><p>"During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan’yū (1602-1674), a leading artist of the early Edo Kanō School, spent his lifetime copying numerous earlier Chinese paintings, as well as some Japanese and Korean works. He left thousands of small-sized sketches, called Tan’yū Shukuzu [Tan’yū’s Small Sketches], leaving a lasting impact on the Japanese painting realm. They were made for multiple purposes, as painting models, authentication notes, teaching materials, and a symbol of a painter’s status. Sanko Minagawa’s research survey indicates the existence of more than 107 sketches of Chinese female images, as one of the major subjects, in Tan’yū Shukuzu. </p> <p> This paper focuses on Tan’yū’s copies of Chinese female-figure paintings (often called tobijinzu, “pictures of Chinese beauties,” in Japanese) that were largely overlapped with while beyond the scope of the shinü tu or meiren hua genre (paintings of beautiful ladies) in Chinese art. It discusses the reproduction mechanism of Shukuzu in comparison with the Chinese fenben practice. It also examines the attributed Chinese artists’ signatures copied by Tan’yū in Shukuzu, e.g., Qiu Ying and Tang Yin (famed for beautiful women paintings), Zhao Mengfu and Zhao Yong (no extant authentic female-figure paintings), and it identifies the late Ming Suzhou Pian workshop as an important original Chinese source. It provides a fresh angle to approach the perception of Chinese “forgery” paintings and the long-term use of Shukuzu in re-making and reinterpreting Chinese paintings in Edo Japan from the seventeenth to the nineteenth century. Through two case studies from a transcultural perspective, it shows the combination of two Chinese pictorial systems, gengzhi tu (Pictures of Tilling and Weaving) and shinü tu, in a Kanō School scroll; and the transformation of the Queen Mother of the West, from a powerful female Daoist immortal signified by peaches of immortality to a secularized beautiful lady holding peach blossoms, in Kanō School paintings. </p> <p> </p>
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NASIR, Suraya Binti Md. "Understanding Manga as a “Style” through Essay Manga’s Multimodal Literacies：And Its Relations to the Discourse on “local art style” in Malaysian Comics." Border Crossings: The Journal of Japanese-Language Literature Studies 13, no. 1 (December 30, 2021): 61–74. http://dx.doi.org/10.22628/bcjjl.2021.13.1.61.
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The trans-cultural consumption of Japanese Manga in Malaysia has prompted a significant amount of manga-influenced local works. As an outcome, traces of Japanese Manga can be found through its iconic art styles, storytelling and Japanese culture in these works. While fans show the positive response for these manga-influenced local works, the artists’ community shows the opposite response, in particular, related to the representation of the “typical Japanese manga-style”, resulting in the idea that these artists are turning away from the “local art style” which has been pioneered by the predecessors. The sentiment of Japanese Manga as a “single art style” contributed to this misconception on what constitutes a Japanese manga identity. In which the researcher proposes the introduction of ‘Essay Manga’ (コミックエッセイ or エッセイマンガ) as a way to divert the attention of Japanese Manga’s art style, by shifting to the other attributes of Japanese Manga which is the story. Essay Manga is a manga work that describes the events that happened around the manga artist but without any specifications towards manga visual conventions. To illustrate the importance of story versus art style in Essay Manga, the characteristics, forms, examples are sketched out trough the works of Hosokawa Tenten and Azuma Hideo. A section on Malaysia “local art style” is also discussed and ties in with the discussion of Manga. Eventually, the study argues that Japanese Manga is not limited to visual representation; instead, it is accommodated by its engaging storytelling, thus justifying Essay Manga’s potential as a multimodal literacy works.
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Hiraki, Takato, Akitoshi Ito, Darius A. Spieth, and Naoya Takezawa. "How Did Japanese Investments Influence International Art Prices?" Journal of Financial and Quantitative Analysis 44, no. 6 (October 8, 2009): 1489–514. http://dx.doi.org/10.1017/s0022109009990366.
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AbstractWe test the luxury consumption hypothesis of Ait-Sahalia, Parker, and Yogo (2004), using a unique international art price, import/export flow, and stock market data set. We find that the demand for art by Japanese collectors is positively correlated with art prices and Japanese stock prices. This correlation is magnified during the “bubble period” of the Japanese economy (the mid-1980s to the early 1990s) and gains even further strength for works of art typically favored by Japanese collectors. Our results suggest that Japanese investors (or Japanese asset markets) indeed affect international art prices—especially during the bubble period and its aftermath.
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Titareva, Diana Stanislavovna. "The influence of Ukiyo-e on the artistic language of easel graphics of A. P. Ostroumova-Lebedeva in the 1900s-1920s (on the example of St. Petersburg collection of woodblock prints)." Культура и искусство, no. 3 (March 2021): 47–57. http://dx.doi.org/10.7256/2454-0625.2021.3.32778.
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The article reviews and analyzes the key easel graphic works by A. P. Ostroumova-Lebedeva from St. Petersburg collection of woodblock prints, created over the period from 1900s to 1920s. These works resemble the genre of Japanese art Ukiyo-e. The subject of this research is the uniqueness of the artistic language and the means of its expression in the works of A. P. Ostroumova-Lebedeva. Alongside other Russian artists of the turn of the XIX – XX centuries she was affected by Ukiyo-e, but perceived the Japanese wood engraving on a more profound level. The author examines the works of accomplished in this period, as well draws parallels with the woodblock prints of Japanese masters, using the formal-stylistic method. This approach is relevant as it reveals the role Japanese woodblock prints played in the establishment of artistic language of A. P. Ostroumova-Lebedeva. Within the Russian art history, this research is one of the few attempts of conducting comparative analysis between the woodblock prints of A. P. Ostroumova-Lebedeva and the works of Japanese masters, which defines the scientific novelty. The conclusion is made that the influence of Ukiyo-e can be traced in the compositional solution and in use of particular Japanese motifs in her works. The artist also contributed to the establishment of woodblock prints as an independent genre of graphic art, having enriched it with the images and color introduced by the Japanese masters.
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Lāms, Edgars. "Andreja Papārdes dzeja 20. gadsimta sākuma laikmeta un latviešu dzejas kontekstā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 56–63. http://dx.doi.org/10.37384/aplkp.2020.25.056.
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Andrejs Papārde’s real name is Miķelis Valters (1874–1968), he was born and raised in Liepāja in a family of dock workers. Valters is a versatile personality – a Doctor of Juridical Science, a social worker, a politician and a diplomat with outstanding accomplishments in Latvian history. Valters was also an art theorist and poet. He signed his literary works with a pseudonym Andrejs Papārde. In literature, Papārde announces himself in the 1890s with works of short prose and reflections, later also with poetry. In book shape, his poetry is published after the 1905 Russian Revolution. He has three collections of poems published. The first collection of poems “Tantris” was published in 1908 in Helsingfors. The collection consists of little poems in short verses, without titles, but listed with roman numerals from one to eighty-nine. The poems are written in free verse, without rhymes, and they are characterized by allegoric expression and symbolic characters. The poetry is allegorically symbolic, with no specific place and time. The inflecting sound of verses is dominated by a pessimistic and depressive feel. The common gloomy atmosphere of the poems in the collections is formed by the imagery of pessimistic expressions, the dominance of the black colour and a severely dramatic sense of the world of the main character. The scenes with depressive characters capture the horror of a global apocalypse as well as the fear of an individual threat. The atmosphere of misery and hopelessness is created by grim stylistics and negative semantic characters. The very few characters of positive expression cannot dispel the overall dreary and sorrowful mood. Andrejs Papārde’s second poem collection “Ēnas uz akmeņiem” comes out in 1910 in Riga. The collection consists of seventy poems numbered with Arabic numerals. Interestingly, the pages are not numbered, thus only the number of a poem can be indicated in the references. All of the poems are of small scale, ranging from five to twelve lines, most of them are poems of six to eight short lines. All of the poems from the collection are without titles, written in free verse and without rhymes. The form of the poems is almost compressed to a maximum. The free verse and the intelligent dimension of the poems allow perceiving Papārde’s poetry similarly to Japanese haiku or tanka. Verses filled with depressive feelings in a way persist in his second collection of poems, however this time in not so unvaryingly dull manner and not so fatally obedient. More often, but not entirely levelled, optimistic tunes are played. The night continues to reign, there is still a lot of black colour, but more often there are mentionings of mornings. Notably, for expressing optimistic feelings, verbs are used in the future tense. Papārde’s second poem collection “Ēnas zem akmeņiem” ends on an optimistic tune, but that is certainly not a naive optimism of non-existing problems. Papārde’s third poem collection “Mūžība” subtitled “Mana dziesma” was published in 1914 in Helsingfors. Unlike in the previous collections, in this one, all of the poems have titles, and they are no longer numbered. The author consistently keeps writing in a rhymeless free verse. Almost like with inertia, there is still skepticism and disappointment. But there is much more confidence than before, the willingness to withstand difficulties, hard times, and there is hope for the tomorrow, for the “Easter morning”, for a new day. In this poem collection, Papārde and the main character slowly turn into an ambassador of light and an admirer of the sun, thus joining the many sun worshipers and the light announcers in Latvian literature. The character system close to romanticism, individual sovereign subjectivity, intimate sounding verses, dynamic use of abstractions and symbols are all associated with the 20th-century romanticism, or in other words, the neo-romanticism. The dominance of the pessimistic atmosphere differentiates this poetry as a depressive neo-romanticism or so-called catastrophic romanticism poetry.
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Szeto, Man Chun. "Revisiting Gadamer's Conception of Works of Art." Labyrinth 23, no. 1 (September 3, 2021): 140–65. http://dx.doi.org/10.25180/lj.v23i1.260.
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In contrast to Kant's aesthetic, Gadamer proposes a fundamentally different way of understanding our experiences of art. One that is not restricted by the dichotomy between subjectivity and objectivity: A work of art is not simply an object created by an artist, but a "world" in which all the "players" participate. This conception of art is inspired by the performing arts; but how much is it relevant to other forms of art? Gadamer never explored this question fully. It is of interest, therefore, to expand the analysis of Gadamer on two fronts: first, new forms of art such as installations and video games; second, artistic practices in East Asia, notably, the Japanese art of kintsugi and Chinese art of seals (zhāng). The analysis of these forms of art not only helps broaden the scope of Gadamer's theory, but shows also that the insights found in his works are more relevant than ever.
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Tudorică, Ioana-Ciliana. "The Role of Myths in Japanese Calligraphy’s Interpretative Process." Studia Universitatis Babeș-Bolyai Philologia 66, no. 4 (December 17, 2021): 353–66. http://dx.doi.org/10.24193/subbphilo.2021.4.22.
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The Role of Myths in Japanese Calligraphy’s Interpretative Process. This article illustrates the role of myths in the interpretative process of calligraphic works. Being considerably different from Western calligraphy, Japanese calligraphy (shodō) may seem at times visually similar to abstract art. However, calligraphic works – and shodō as art – are rich in meaning and abundant of myths. Focusing on both linguistic and visual elements of calligraphy, the article depicts how myths can be identified in a calligraphic work and how they provide a better understanding of the particularities of shodō. In order to illustrate how myths uncover new layers of meaning, the article incorporates an analysis of a calligraphic work created by Rodica Frențiu, underlining the process of accessing the transcendent meaning. Keywords: shodō, Japanese calligraphy, calligraphy, cultural semiotics, Japanese studies, kanji, myth, Zen, Buddhism.
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Inoue, Tsuyoshi, Yoko Sugawara, Atsushi Nakagawa, and Masaki Takata. "Japanese Crystallography in Culture and Art." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C1304. http://dx.doi.org/10.1107/s2053273314086951.
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"We can find many seeds of crystallography in Japanese culture. Most of the family crests have symmetry elements such as rotation axes and mirror symmetry elements. Sekka-zue, a picture book of 86 kinds of crystals of snow, was made by Toshitura Doi, who is a feudal lord in Edo-period and he observed snow using a microscope in nineteenth century. In recent years, people enjoy to make crystal structures, polyhedrons, carbon nanotube, quasicrystal etc. by origami, the art of folding paper [1]. In the field of science, the Japanese crystallography has contributed to explore culture and art. An excellent example is unveiling the original color of Japanese painting "Red and White Plum Blossoms" by Korin Ogata [2]. Prof. Izumi Nakai (Tokyo University of Science) developed an X-ray fluorescence analyzer and an X-ray powder diffractometer designated to the investigation of cultural and art works and had succeeded in reproducing the silver-colored waves through computer graphics after X-ray analyses of crystals on the painting. The scientific approach by Prof. Nakai et al. unveiled the mystery of cultural heritage of ancient near east, ancient Egypt etc. and is being to contribute to insight into the history of human culture. [1] An event to enjoy making crystals by origami is under contemplation. [2] The symposium ""Crystallography which revives heritages"" was held on February 16, 2014 at Atami in Japan."
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Polanski, Zhanna. "THE TRADITIONS OF JAPANESE CERAMICS." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 113–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-133-145.
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The article focuses on an important topic - the traditions of Japanese ceramics. Its relevance lies in the importance of solving the problem of identifying artworks: whether they are fake or original. Incorrect attribution of an item can lead to severe legal and material consequences and significantly affect the reputation. Differences between the terms “a copy” and “a forgery” with the assessment of positive and negative aspects of falsification are revealed. Highly qualified specialists with certificates and diplomas are required to identify and attribute art. The article shows the main requirements they must have. It also highlights and covers the characteristics and central problem of Western art, describes the ideology of Eurocentrism, according to which Europe, or the West, is the highest stage of human civilization; the rest of the world is considered primitive and undeveloped. A vivid example of an error in identifying a work of art by the Getty Museum - the sculpture Head with Horns and several cases of creating grandiose first-class forgeries in the art of Japanese ceramics are presented in the article. The works of such artists as Kato Tokuro, a ceramic artist whose works have won the highest artistic award in Japan and are widely recognized among collectors and curators of the West, Kagami Shukai, and Kato Koju have been studied. The article describes the Setoceramic tradition and its significance for common cultural art. It was created by the great Kato Shirozaemon and got its name from the name of the city in Japan, famous for its pottery. The article shows the importance of traditional methods in Japanese ceramic art history. Hence the desire of masters to follow ancient patterns and techniques. The article also describes the features and reveals the differences between traditional and Studio ceramics. The characteristics of the Asian approach, which aims to reproduce cultural values in an unchanged form, parallel with the development of progress in other areas, are studied. The article’s main task is to teach how to detect an obvious forgery by analyzing genuine ceramic products’ characteristic features. For this purpose, significant analysis of the distinctive features of authentic ceramic products is given. Several techniques and methods for determining the authenticity of the exhibit are presented.
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Belozyorov, V. V. "Exhibitions of Japanese children’s drawings in the USSR: Depicting Japan, showing the world." Japanese Studies in Russia, no. 1 (April 11, 2023): 27–45. http://dx.doi.org/10.55105/2500-2872-2023-1-27-45.
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The article is devoted to the history of exhibitions of Japanese children’s drawings in the Soviet Union in 1920s – 1980s, as well as to the critical interpretation and perception by the Soviet audience of the artistic works of Japanese children. The importance of such events can be seen not only in the artistic value of the exposition material, but also in the influence of the expositions on the image of Japan in mass consciousness.The material is devoted to key exhibition projects related to the presentation of Japanese children’s art, in particular, the “Exhibition of Children’s Books and Children’s Art of Japan” in 1928, as well as a series of international exhibitions “I See the World,” held in the USSR since the late 1960s. The greatest attention is paid to the peculiarities of Soviet art criticism towards Japanese children’s drawing in the pre-war and post-war period, as well as the influence of Soviet ideology on the interpretation of children’s art from Japan.The author comes to the conclusion that the approach to the exhibitions was characterized by ideological indoctrination, as well as certain stereotypes about Japan, which created a request for exoticization of the creative products of the Japanese children. During the initial period of the Russian-Japanese cultural ties, despite the controversial nature of the Soviet art criticism of Japanese children’s drawings, the exhibition had substantial importance for the cultural ties of the two countries. In the post-war period, not only mono- national exhibitions, but also large projects involving multiple countries drew attention to various creative works of Japanese children. Since the early 1990s, the past importance of such exhibitions as an important element of cultural exchange receded, which is also true for the present times, despite the episodic exhibition projects of this sort in various regions of Russia. The “propaganda” component of children’s drawings faded. It is, however, regrettable that such exhibitions stopped attracting public attention due to the lack of interest of the media to these initiatives, as well as of systematic study of the works of Japanese children from the point of view of art studies and psychology.The article is based on documents, many of which are being introduced into scientific circulation for the first time, from the following archives: the State Archive of the Russian Federation (GARF), the Russian State Archive of Literature and Art (RGALI), the Central State Archive of St. Petersburg.
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Wagner, Malene. "Eastern Wind, Northern Sky." Journal of Japonisme 1, no. 1 (January 4, 2016): 41–65. http://dx.doi.org/10.1163/24054992-00011p04.
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Among countries like Germany, France and England, Denmark took part in the ‘japanomania’ that swept the West in the second half of the nineteenth and early twentieth centuries. Key figures in promoting Japanese art were art historian Karl Madsen and artist and museum director Pietro Krohn. Both played a significant role in trying to establish Denmark in the field of Japanese art on a par with serious international art collectors and connoisseurs. Their connections to Justus Brinckmann in Hamburg and Siegfried Bing in Paris enabled them to put on exhibitions that would introduce to a Danish audience a, so far, relatively unknown and ‘exotic’ art and culture. Often perceived in the West as expressing an innate understanding of nature, Japanese art became a source of inspiration for Danish artists and designers, such as Arnold Krog, who would create a synthesis between the Nordic and Japanese in his porcelain works.
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Ulak, James T. "Japanese Works in The Art Institute of Chicago: Five Recent Acquisitions." Art Institute of Chicago Museum Studies 19, no. 2 (1993): 174. http://dx.doi.org/10.2307/4108740.
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Hammouri, Ali. "The Influence of Japanese Ukiyo Art on Henri Toulouse-Lautrec's Poster Designs in the Context of European Art." Dirasat: Human and Social Sciences 49, no. 6 (December 30, 2022): 38–49. http://dx.doi.org/10.35516/hum.v49i6:.3987.
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This research aimed to show The Influence of Japanese Ukiyo Art on Henri Toulouse-Lautrec's Poster Designs in the Context of European art, through selecting and analyzing five artistic poster works for the French artist Henri Toulouse-Lautrec as a case for the study. The researcher used the historical, survey and comparative methodology in his analyzing process, to reach the answer of the study hypothesis. The research sets up six criteria to show the influence of Japanese art on Lautrec works as abstract, simplicity, absence of shade and shadow, the absence of third dimension, flat shapes, bold flat color contrast and vivid flat colors in a new artistic European style, that have been influenced by the Japanese floating word (Ukiyo-e art). As a result, it is clearly seen as an evidence that the Ukiyo art had a major influence on European art and artists during between the 19th century and 20th century. Lautrec particular are enduring these art forms specially on Lautrec Posters Design which he performed in Paris. Researcher noticed a correspondingly sweeping change in Western art Japonisme was seen clearly among Henri Lautrec Posters as a preference for the theme matter, stylishness, and imitating of Japanese art, especially abstract, simplicity, absence of shade and shadow, the absence of third dimension, flat shapes and vivid flat colors in woodblock prints, and a bold flat color contrast, as he also moved toward abstraction to bare bones away of impressionism in his designed poster done in Montmartre area in Paris.
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Zatlin, Linda Gertner. "Aubrey Beardsley's “Japanese” Grotesques." Victorian Literature and Culture 25, no. 1 (1997): 87–108. http://dx.doi.org/10.1017/s1060150300004642.
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Aubrey Beardsley made major contributions to the art of the grotesque. Initially, he probably learned the theory as well as the technique of creating designs in this mode from the work of medieval European artists. His own development of the grotesque, however, rests on his treatment of subject matter, a treatment which was influenced by Japanese woodblock artists. The double viewpoint, both expressing an author's point of view and critiquing one's own society, is seen most frequently in humorous grotesque Japanese woodblock designs, which were collected, exhibited, and reproduced in England during the 1890s. In order to detail one of Beardsley's major contributions to this form, this essay will first delineate Beardsley's attraction to the grotesque as well as his exposure to Japanese art, and, after examining the ways in which the grotesque works, it will concentrate on Beardsley's adaptations of the Japanese grotesque.
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Lieber-Milo, Shiri, and Hiroshi Nittono. "How the Japanese Term Kawaii Is Perceived Outside of Japan: A Study in Israel." SAGE Open 9, no. 3 (July 2019): 215824401986990. http://dx.doi.org/10.1177/2158244019869904.
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In Japan, many products contain the characteristics of small, round, bright colors, and are adorable and sweet, in short kawaii (“cute” in direct translation into English). Over the years, the mass production of kawaii goods has made its way to the West, initially through visual media and later on through consumption goods. This exposure has brought increased interest in Japan and its culture among young Westerners as well as a rise in familiarity with everyday Japanese words like kawaii. This study illuminates how non-Japanese people, in this case Israelis, define and treat the term kawaii. The results of the survey showed that a high number of respondents were familiar with the term kawaii, were able to define it in their own words, and had a positive approach toward it. This article provides some empirical evidence of a successful penetration of the Japanese consumer-related culture and popular words in Israel.
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Bakhtiyorjon Qizi Qosimova, Gulnorakhon. "THE ART OF NOVELLA BY IHARA SAIKAKU (TRADITIONS AND NATIONAL SPECIFICITY)." International Journal of Advanced Research 9, no. 5 (May 31, 2021): 824–31. http://dx.doi.org/10.21474/ijar01/12910.
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Literature, as any type of panhuman activity, has its own canons and patterns that have been mastered and expanded by the classic writers of all nations of the worldover the centuries.In particular, Japanese literature is characterized by reliance on traditions, the active use of historical experience of previous periods literature and redefinition of the past, as well as an original and innovative point of view on reality.It is known that in the East the role of traditions has always been very important. Social behavior, the need to adhere to national traditions in the formation of the consciousness of each individual. Undoubtedly, this also applies to the cultural sphere of Japanese life, especially the work of writers. Direct references to past sources in the creative process were considered as important criteria in assessing the value of the work, and for a long time it was an indicator of the author’s level and extensive knowledge. The paper covers the role of literature traditions, the principles of interpretations classical Japanese and Chinese literary sources in the works of a talented representative of Japanese literature of the seventeenthcentury Ihara Saikaku. For this purpose, a selection of the interpreted works of the author and their analysis with a number of classical primary sources of Japanese and Chinese literature has been made. Through the analysis, the principles of redefinition, an innovative interpretation of examples of Japanese and Chinese literature of the past, as well as shifts in the system of artistic representations of that time have been revealed.
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Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century." BCP Social Sciences & Humanities 20 (October 18, 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.
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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.
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Yamauchi, Takashi, Tadashi Takeshima, Eugen Koh, Hisomu Chiba, Ryuji Nakagawa, Anju Sudo, Sayaka Ono, Yuji Okazaki, and Takehiko Kikkawa. "A preliminary study on the attitude of the Japanese public towards creative artwork by people with mental illness." International Journal of Social Psychiatry 58, no. 4 (March 18, 2011): 350–54. http://dx.doi.org/10.1177/0020764010397584.
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Background: Although researchers have suggested that consumer art can help reduce the stigma of mental illness, there is little evidence of the attitudes of the Japanese public towards such artwork. Material: A total of 277 Japanese visitors attending an exhibition of visual arts by people with mental illness completed a short questionnaire. Discussion: After their visit, approximately 87% of the participants reported being strongly or fairly impressed by the creative art. Word frequency analysis implied generally positive attitudes towards the works. Conclusions: The Japanese public might generally have positive and empathetic attitudes towards artwork by people with mental illness.
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Kryzhanovskaya, Yana S., and Stanislava A. Kryzhanovskaya. "THE TRADITIONAL JAPANESE ART OF CALLIGRAPHY IN THE WORKS OF KANAZAWA SHOKO." Scholarly Notes of Komsomolsk-na-Amure State Technical University, no. 6 (2021): 33–40. http://dx.doi.org/10.17084/2076-4359-2021-54-33.
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Yang, Zehui, and Yuanxin Su. "A Modern Retrospective of Tradition: A Brief Introduction to Kengo Kuma’s Works and Architectural Ideas." Scientific and Social Research 6, no. 3 (April 15, 2024): 213–19. http://dx.doi.org/10.26689/ssr.v6i3.6381.
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Kengo Kuma is an internationally recognized Japanese architect today. His works and architectural thoughts are influenced by Japanese geography and cultural traditions, forming a school of its own in Japanese modern architecture. This paper takes Kengo Kuma as the research subject, combining the development trajectory of Japanese modern architecture for more than 100 years to analyze his architectural ideas and design thinking. Kengo Kuma integrates his understanding of traditional Japanese culture and art into modern architecture, by Kengo Kuma’s architectural thoughts and practices bring inspiration and enlightenment for Chinese architects as a path to explore connecting modern trends with traditional designs.
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Gao, Hui. "Oriental Elements in Cezanne’s Art." BCP Social Sciences & Humanities 18 (June 30, 2022): 266–69. http://dx.doi.org/10.54691/bcpssh.v18i.994.
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Paul Cezanne is one of the representative artists of post-impressionism in France. In the early 19th century, Japanese paintings were famous and influenced by the second industrial revolution and respected Oriental works of art. Many Western artists initially increased Oriental elements to create but superficial. In the mid-19th century, with the emergence of Oriental art stores in the streets of France, the popularity of Oriental works has been further developed. Until the late 19th century, represented by Cezanne artists, art has been dared to explore and innovate on the road. Painting, especially in the late paintings of many potential injections of Oriental elements. Cezanne did not go to the East; a visible blend of Eastern and Western art exploration seems to have a hidden fusion very early. Therefore, this paper attempts to conduct a preliminary discussion on three aspects of composition, artistic temperament, and color, which helps us further explore the early integration of Eastern and Western art.
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Yi, Yuxi. "The Fusion of Japanese Zen Aesthetics and the Image of Machi-Man (Townspeople) – Reflections in Ukiyo-e and 19th Century Paris Montmartre Art." International Journal of Culture and History 10, no. 2 (October 13, 2023): 54. http://dx.doi.org/10.5296/ijch.v10i2.21383.
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The three core elements of Japanese Zen art aesthetics are mono no aware, yugen, and wabi-sabi, but these are only modern research interpretations of Zen art aesthetics. By tracing the roots of Rinzai Zen Buddhism from China, free from the written word, this paper finds that Zen Buddhism has influenced Japanese culture in both thought and life and has fused the cultural practices of the Japanese townspeople's society over time. Therefore, the article analyzes the connection between the Japanese Zen aesthetics and the culture of the Machi-man (townspeople). At the same time, the paper also argues that the relationship between Zen art aesthetics and the townspeople spread worldwide with the spread of ukiyo-e as an art form. This relationship is visualized in the form of case studies, including but not limited to the use of ukiyo-e artworks to substantiate this relationship and the analysis of the works of Toulouse-Lautrec to decipher how this relationship between aesthetics and townspeople has been learned in foreign lands.
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Akhmylovskaya, Larisa Alekseevna. "Portrait of an artist in the context of the era: Saeki Yuzo." Pan-Art 3, no. 4 (December 4, 2023): 245–55. http://dx.doi.org/10.30853/pa20230040.
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The study aims to recreate the portrait of the Japanese artist Saeki Yuzo (1898-1928), a representative of the “yoga” movement, in the context of his contemporary era. The author addresses the transformation of the Japanese art community of the Meiji and Taisho eras, identifies the peculiarities of formation of the “yoga” and “nihonga” painting trends in Japanese art, considers the main periods of Saeki Yuzo’s life and creative work (the first Paris period, the creation of Italian watercolors, return to Japan, the second Paris period). The paper is novel in that it is the first to determine how the traditions of the East and the West are interpreted in the works of the artist. As a result, the author substantiates the thesis that Saeki Yuzo was a follower in the context of European art and an innovator at home; the artist’s contribution marked a new stage in Japanese modernism – the transition from impressionism to Fauvist expressionism.
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Takezawa, Yasuko. "Major and Minor Transnationalism in Yoko Inoue’s Art." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (July 6, 2020): 27–47. http://dx.doi.org/10.1163/23523085-00601003.
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This article elucidates major transnationalism and minor transnationalism through an analysis of works by New York-based Japanese artist Yoko Inoue (b. 1964). Inoue engages in social criticism through varied media such as ceramics, installations, and performance art. Her works demonstrate minor transnationalism observed in the relationships she has built with other transmigrants and minoritized individuals over such issues as xenophobia and racism after 9/11, as well as Hiroshima/Nagasaki and related contemporary nuclear issues. Inoue also addresses the disparities in collective memory and narratives between Japan and the US plus socio-economic inequalities between nation-states and the movement of people/goods/money within Trans-Pacific power dynamics, all of which illustrate major transnationalism in the Trans-Pacific.
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Sirenko, Sneghana, and Julia Zamaraeva. "Participatory practices of contemporary art (based on the analysis of works of art by Chiharu Shiota)." Asia, America and Africa history and modernity 2, no. 2 (June 6, 2023): 56–90. http://dx.doi.org/10.31804/2782-540x-2023-2-2-56-90.
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This article reveals the conceptual content of the concept of “participatory practices” and presents the results of an analysis of selected works by contemporary Japanese artist Chiharu Shiota, known for creating large-scale installations and performances, as well as art paintings and sculptures. The main material of the artist is woolen threads, the main principle of the construction of the work is modular. The artist is often compared to a spider – from threads of black, white and red colors she spins huge labyrinth webs, into which from one to many homogeneous objects are often woven: chairs, dresses, shoes, keys, pieces of paper and so on. The authors of the article proposed a classification of works, on the basis of which a rather voluminous work of the artist is structured: by the principle of using threads, by the color of the threads, by the type of objects used, by topic, by the way the viewer interacts with the work.
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Kawamura, Yayoi. "The Art of Barniz de Pasto and Its Appropriation of Other Cultures." Heritage 6, no. 3 (March 22, 2023): 3292–306. http://dx.doi.org/10.3390/heritage6030174.
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This study analyzes the techniques and decorative motifs of several works made using barniz de Pasto, highlighting their characteristics in order to establish comparisons with artistic phenomena of Asia and Europe. A possible link can be observed between barniz de Pasto and the Namban and Pictorial style Japanese export lacquer works of the 17th and 18th centuries. A search for similarity is justified by the documentary and material evidence of Japanese works created in these styles being transported from Japan to the Viceroyalty of New Spain by Manila galleons via the trade route between Acapulco and Callao. Additionally, traces of the Spanish culture have been recognized in barniz de Pasto. For example, printed images that circulated in the Viceroyalty of Peru have been observed on a coffer. This appropriation, also observed in the mural painting of a Central Andean church, and the presence of the image of Amaru, a Quechua deity, on the same coffer, marks the Central Andes as one of the possible places where the practice of barniz de Pasto could have been established. All of this points to Central and South America’s great ability to appropriate foreign cultures and fuse them with their own during the viceregal period, as manifested in the art of barniz de Pasto.
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Magera, Yulia A. "LITERARY CLASSICS IN JAPANESE MANGA: СOMICS BY TEZUKA OSAMU." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2021): 100–115. http://dx.doi.org/10.28995/2686-7249-2021-9-100-115.
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Tezuka Osamu is one of the first manga artist, who started to transform works of classical literature into the language of Japanese comics. Among his works we can distinguish the comic adaptation of Goethe’s “Faust” (1950) and “Crime and punishment” (“Tsumi to batsu”, 1953) by Dostoevsky. These works, according to the assurances of Tezuka Osamu, were created by him in order to introduce the younger generation to the masterpieces of world literature. But, in fact, they are rather a courageous experiment by the author, which is based on Tezuka Osamu’s personal experience with the works of American and Soviet animation and cinema (“Snow White and the Seven Dwarfs”, “The Humpbacked Horse”, “Moth and the Flame”, “The Third Man”, etc.). Being a big fan of cinema since childhood, Tezuka Osamu unwittingly transferred a set of different cinematic techniques to the art of comics, thereby expanding its capabilities. In this article we will consider in detail the mechanism of adaptation of literary texts in Tezuka Osamu’s manga, starting with the indication of direct quotations from movie and animation of that time and ending with a variety of effects (Kuleshov effect) and principles of the film industry (“Star System”).
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Shalem, Avinoam. "“What a Small World”: Interpreting Works of Art in the Age of Global Art History." Getty Research Journal 13 (January 1, 2021): 121–42. http://dx.doi.org/10.1086/713432.
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Armendariz-Hernandez, Alejandra. "The Japanese Cinema Book – FUJIKI Hideaki & Alastair PHILLIPS (eds)." Artists, Aesthetics, and Artworks from, and in conversation with, Japan - Part 2, no. 9 (December 20, 2020): 95–101. http://dx.doi.org/10.32926/2020.9.r.arm.cinem.
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Japanese film studies is an academic discipline and research community focusing on the multifaceted aspects of Japanese cinema. Deeply interdisciplinary, it employs theories, critical approaches and methods from different fields such as film studies and cultural studies to understand Japanese films as works of art, cultural products and social practices. What makes a film “Japanese”, and even what is a film, are far from easy questions, particularly in the globalised, transnational and digitalised world in which we now live, but nevertheless are issues that define the disciple and its historiography. Yomota Inuhiko puts it simply in [...]
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Mingchunxiao, Yue. "Oddziaływanie sztuki Dalekiego Wschodu w Polsce od końca XIX do XX wieku." Krakowskie Studia Małopolskie 38, no. 2 (2023): 132–49. http://dx.doi.org/10.15804/ksm20230209.
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From the period of geographic discovery to the current era of globalization, Eastern and Western cultures have been in constant communication while being very different from one another. The Polish art scene was profoundly influenced by inspiration from the Far East from the late nineteenth century to the early twentieth century, or from “Young Poland” to the modern era following World War II. At the turn of the century, interest in Japan and its art expanded from Paris to Poland. The popularity of Japanese art in Poland increased as a result of social, cultural, and even political demands. Numerous ideas in Japanese art, such as ukiyo-e woodcuts, were compatible with the philosophy of the Young Poland era and hence served as the foundation for numerous art schools. Poland and China, another Eastern nation, frequently exchange cultural and artistic works during the aforementioned period, which are evident in sectors such as painting, film, stage design, etc.
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Proppe, Rebecca. "Instruction Paintings." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (May 15, 2019): 23–45. http://dx.doi.org/10.33137/relocations.v2i1.30801.
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In order to propose further research into non-Western avant-gardes and modernist narratives, this paper explores the contributions of Japanese-American artist Yoko Ono to our understanding of the narratives of modernism and contemporary art. Ono’s work is examined through her interactions with both Japanese and American avant-garde artists and philosophies, thus using Ono’s life and work as one potential case study in demonstrating the important dialog between East and West which manifested into several important avant-garde movements and artworks. My paper further seeks to complicate the traditional Western-centric narratives of art history by acknowledging intersectional readings of works and artists’ histories, by looking at Ono’s unique experience as a Japanese woman living in America, eventually marrying a pop singer whose fame would affect her public image for decades.
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Dmitruk, Natalia. "Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary." Literatura i Kultura Popularna 23 (May 31, 2018): 93–107. http://dx.doi.org/10.19195/0867-7441.23.7.
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Religious beliefs from the perspectiveb of Japanese aesthetics: Mushishi by Yuki UrushibaraThe Japanese culture is often portrayed as unique, in particular when compared to broadly-understood Western culture. It is important to notice, however, that the main trait of the Japanese culture is its openness towards outside influences and the ability to modify them to fit better with the Japanese system of values. The same could be applied to the Japanese aesthetics, which concernsm various aspects of life, not only the ones that would be described as art in Western culture. The contemporary Japanese culture and the aesthetics along with it is occasionally a combination of tradition and modern ideas; the works of popular culture, which includes comics and animation, may hold the most interesting cases in that regard. This article describes the issues of the Japanese aesthetics in Mushishi, a comic book by Yuki Urushibara. The author, while inspired by the classical works of Japanese literature and legendary tales, presents her own stories, in which the primary aesthetic value is the harmony between human and nature, sometimes represented by the supernatural beings known as mushi.
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Meria Zakiyah Alfisuma, Eka Susylowati, M. Masqotul Imam Romadlani, and Achmad Fanani. "Reflection of Japanese Culture in Snow Country by Yasunari Kawabata." Diglossia: Jurnal Kajian Ilmiah Kebahasaan dan Kesusastraan 14, no. 2 (April 15, 2023): 104–19. http://dx.doi.org/10.26594/diglossia.v14i2.3081.
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Yasunari Kawabata is a Japanese writer who won the Nobel Prize in literature. One of his most popular novels entitled Snow Country is full of Japanese cultural values. The purpose of this study is to examine the extent to which the novel Snow Country reflects the life and culture of Japanese society. The method used is descriptive qualitative which describes and analyzes the collected data taken from the quotations of the novel. In analyzing the data, the writers use the mimetic approach and the concept of culture by Hammersley (2019) to reflect aspects of Japanese culture in literary works based on reality. The result of the study proves that the cultural depiction in Snow Country is in accordance with the cultural reality that exists in Japan, and based on the concept of culture by Hammersley, the culture found in this novel are divided in the form of Japanese cultural tools, cultural environment and the life of Geisha. The Japanese cultural tools including traditional drink ‘Sake’, traditional clothes/dress ‘Kotatsu, Kimono and Yukata’, art ‘Kabuki’ and music ‘Shamisen’, art or mode of Japanese houses in Daimyo Period, Traditional Japanese Houses ‘Shouji Sliding Doors’ and ‘Tatami’. Japanese cultural environments are found by the depiction of situations in Hot Springs ‘Onsen’, habits of Japanese society in autumn and winter. The last, one of the cultures of Japanese is also depicted by the art of Geisha, that is the life of Geisha and Geisha house “Okiya”,
Keywords: mimetic, novel, culture, and Japan
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Anwar, Fithyani. "Japanese Writers and Works on Djawa Baroe: Behind the Selection of the Five Works." Eralingua: Jurnal Pendidikan Bahasa Asing dan Sastra 8, no. 1 (May 9, 2024): 64. http://dx.doi.org/10.26858/eralingua.v8i1.59331.
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Abstract. Literature became one of the propaganda tools of the Japanese military government during the Japanese occupation of Indonesia (1942-1945). This research focuses the object of study on four short stories and one play written by Japanese writers published in Djawa Baroe magazine (1943-1945), including "Kitjizo Kemedan Perang" by Hino Ashihei, "Ditempat Asoehan Garoeda" by Niwa Fumio, "Batoe" by Kawai Tetsukichi and "Perkawinan 25 Tahoen" by Sasaki Takamaru. The qualitative descriptive method was used to analyze data on each writer's background and the original versions published in Japan to examine the reasons and significance for selecting the five works. The findings show that four writers, Hino Ashihei, Niwa Fumio, Kikuchi Kan, and Sasaki Takamaru, had produced many works and were well-known writers in Japan. Meanwhile, Kawai Tetsukichi was a newcomer writer, but his work "Batoe" was considered new and attracted the editor of Chūōkōron magazine. Furthermore, research on the original versions of the five works published in Japan discovers that all five works were published in Japan between 1938 and 1943 and then republished in Djawa Baroe from January 1, 1944, to March 15, 1944. Some original works are short and almost the same as those published in Djawa Baroe, but some were long novels, so only small parts were published in Djawa Baroe. However, the versions published in Djawa Baroe contained significant propaganda parts of each work and were suitable for Djawa Baroe's readers during the war. The writer`s reputation and the contents of each work were the main reasons the works were selected for publication in Djawa Baroe. Keywords: Djawa Baroe, Japanese literature, Japanese Writer, Asia-Pacific War
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Adi, Sigit Purnomo. "PELATIHAN PEMBUATAN MINIPRINT DENGAN MENGGUNAKAN MEDIA TRIPLEK DI KOMUNITAS MAKMOER ART PROJECT SUKOHARJO." Abdi Seni 12, no. 1 (November 3, 2021): 45–50. http://dx.doi.org/10.33153/abdiseni.v12i1.3748.
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Abstract Miniprint is one of the print size formats in graphic arts that is not yet very popular in Indonesia. Miniprint format prints in small sizes both matrix and paper. Printing in small sizes is fun. Small format requires patience and technical skill in visualizing the artist's ideas and ideas. Considering that miniprints have many features apart from a small format, they can also be carried everywhere and can also be used as an aesthetic element or room decorator and have good selling power, encouraging the author to hold a workshop or training on making miniprints in the Makmoer Art Project Sukoharjo community. The selection of the training venue in the Makmoer Art Project Community is because this community is indeed engaged in the arts and humanity. A community that always provides free workshops to people in need. Community service methods, problem identification, training and mentoring, evaluation. The works produced in this training after completion are then framed in a minimalist way. The miniprints produced are small-sized works of graphic art, using a matrix of plywood. These works are used as aesthetic elements of the house or as room decoration. Works for the aesthetic element of the house are currently popular among the public so that they have a selling value and can be used as an alternative in entrepreneurship.
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Gentle, Paul, and Marco Giliberti. "Were valuable art works an economic form of money during the German Third Reich Period and its aftermath?" Public and Municipal Finance 6, no. 4 (December 20, 2017): 33–38. http://dx.doi.org/10.21511/pmf.06(4).2017.04.
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This examines the special use of art works as a store of value in Germany during the Third Reich era. Some Jews were able to buy their freedom, as the fascists closed in. Then as the Third Reich fell, some escaping fascists used art works to secure freedom outside of Germany. One of the characteristics of money is a store of value. When confidence in a currency is present, the more conventional form of money takes precedence. A respected, economic form of currency and coin has all three elements of money: medium of exchange, store of value and unit of account. This last trait is especially absent when using various art works as money, as there is no agreed upon unit of account with such different art. Furthermore, art works could not qualify as a medium of exchange, since only a very small amount of the population was involved in this way of dealing in art during the stressed times for the Third Reich.
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Zavyalova, Anna E. "Early Works of Mstislav Dobuzhinsky and Jugendstil Graphic Art." Observatory of Culture 19, no. 3 (July 5, 2022): 293–300. http://dx.doi.org/10.25281/2072-3156-2022-19-3-293-300.
Full textAbstract:
The article examines a number of M.V. Dobuzhinsky’s graphic works published in “Jester”, “The World of Art” and “Apollo” magazines, in comparison with the works of artists in the Munich magazines “Jugend” and “Simplicissimus”. There are revealed the motifs that influenced Dobuzhinsky’s works: the image of pavement and brickwork, the image of a black cat. The author has found that Dobuzhinsky repeated the drawing of the devil by T.T. Heine in a vignette for the magazine “Golden Fleece”. The scientific novelty of the work lies in the fact that, for the first time, it analyzes M.V. Dobuzhinsky’s graphic works published in Russian magazines of the turn of the century, comparing each of them with drawings with similar motifs in the magazines “Jugend” and “Simplicissimus”. The chronological method of analyzing the works of M.V. Dobuzhnisky’s magazine graphics made it possible to reveal the genesis of the image of the city, as well as to clarify the beginning of his appeal to the theme of classicism architecture. In addition, the article introduces into scientific circulation Dobuzhnisky’s drawings for the Petersburg satirical magazine “Jester”. Their chronological analysis in comparison with similar works from the Munich satirical magazines reveals the genesis of the artist’s mastering of Jugendstil drawings in the first year of his autonomous activity. The results obtained demonstrate the influence of woodcuts by Albrecht Dürer on the formation of a unique line in Dobuzhinsky’s drawings. The author concludes that that due to the artist’s appeal to Dürer’s woodcuts, as well as to engravings by Japanese masters, M.V. Dobuzhinsky followed the same path as the masters of the Munich magazine graphics, having developed by the mid-1900s their achievements to a new level in his works.
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Chernysheva, Anna. "Japonisme in Russian Printed Graphics at the End Of the 19th – the Beginning of the 20th Century." Oriental Courier, no. 3 (2023): 234. http://dx.doi.org/10.18254/s268684310028209-7.
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Japonisme is a complex phenomenon, based on the pervasion of Japanese culture into Western culture. Russian artists comprehended it mainly in Europe at the same time as the latest trends in Western art. In their memoirs, the names of Hokusai, Hiroshige and Utamaro are often found: The acquaintance with the engravings of these masters had a great influence on the visual language of a generation of artists in Europe and Russia. Immersion in the technique of Japanese ukiyo-e woodcuts led to experiments, the result of which was the reception by Russian artists of several principles of graphic interpretation of depicted objects, spatial structure, and composition. One of the first Russian artists, who began to work in color engraving was M. V. Yakunchikova. In her works a fusion of various trends is noticeable, among which are the innovative ideas of European artists, and the influence of Japanese woodcuts, and the aestheticism of the “Mir Iskusstva”. The main features of Yakunchikova’s etchings are the conciseness and restraint of the compositions, the absence of excessive detail, the smoothness of the lines and the silhouette of the construction. A. P. Ostroumova-Lebedeva enriched Russian woodcut with color and abandoned the stroke, putting the silhouette and the generalized line in the first place. Her works are characterized by subtle lyricism at the same time as a strictly built composition. V. D. Falileev also worked in the technique of linocut. He created several talented works that demonstrated her wide visual capabilities. Along with recognized masters such as Yakunchikova, Ostroumova-Lebedeva and Falileev, lesser-known masters such as N. N. Zeddeler and A. P. Somova-Zeddeler. Until recently their works did not attract the attention of researchers, but at the beginning of the twentieth century their work was an integral part of artistic life. Despite the presence of a fairly large number of publications devoted to Japonisme and its influence on European art, this topic remains insufficiently studied in Russian art. Japonisme has become one of the important features of the Art Nouveau style, which is characterized by spatial convention, silhouette construction, the rhythm of color spots and other techniques aimed at creating laconic and decorative artistic images.
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Bowen, Barbara C. "A Neglected Renaissance Art of Joking." Rhetorica 21, no. 3 (2003): 137–48. http://dx.doi.org/10.1525/rh.2003.21.3.137.
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This article proposes that we add to the small number of Renaissance works on the art of creating or using facetiae an almost unknown De arte iocandi by an almost unknown Mattheus Delius, who died young. The work is a poem in four books, in Ovidian elegiac couplets, obviously inspired by the De arte bibendi of Vincentius Obsopoeus; both works have been assumed to be paradoxical encomia but arein fact seriousalbeit playful compendia of rules. Delius is interested not in the rhetorical use of jokes as weapons, but in something very close to Erasmus's festivitas. The preface by Melanchthon almost qualifies as an independent art of joking, and together they add valuable information to our knowledge of Reformation wit.
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Shi, Yanqiu, and Hao Zhou. "The Influence of Ukiyo-e on Modern Illustration." Highlights in Art and Design 3, no. 1 (May 31, 2023): 12–14. http://dx.doi.org/10.54097/hiaad.v3i1.9159.
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Ukiyo-e is an art form that was developed during the Edo period in Japan, depicting mainly the culture of the Japanese marketplace, as well as places of entertainment and landscape scenery. Ukiyo-e had a great impact on European painting and influenced the creation of a large number of people, including the Impressionists, and gave European art a new look. Ukiyo-e's lines, composition, colors, and choice of materials not only profoundly influenced Western art, but also the creation of modern illustration, and traces of Ukiyo-e can be seen everywhere in modern illustration works.
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Grubor, Svetlana. "Nature in the works of Yasunari Kawabata." Bastina, no. 51 (2020): 211–22. http://dx.doi.org/10.5937/bastina30-27507.
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There is a strong connection between Japanese culture and nature, to the extent that they can be considered synonyms. Magnificent and cruel nature relentlessly imposed on the inhabitants to reduce their weaknesses and helplessness by cultural work, to make the islands the places where life turns into art and where the creation of a cultural tradition is enabled, in which different and fascinating art forms are expressed. In this paper, the cult of nature is analyzed, which occupies a special place in the works of Yasunari Kawabata. The focus is on the novels Snow Country and Thousand Cranes, in which the perception of nature is given through the prism of Kawabata's view on the fragile beauty of human life before the fear of the whirlpool of transience. Man's attitude towards nature in the works of Kawabata is also reflected in the mysterious role that phenomena in nature have in the formation of characters. The merging of man with nature and the harmony of man and nature are the main aspects of the interpretation of nature in the works of Kawabata, and the multidimensionality of his narration emerges from them.
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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 nanban art influenced the artistic productions on the other side of the world. In summary, nanban art cannot be understood without taking into account its global implications. This paper clarifies the changes in epistemological understanding of nanban art, and its redefinitions through a historiographical review. This work also shows the important role of Spanish America in the artistic exchange mechanisms; these interactions occurred reciprocally. Therefore, the New World was one of the regions where Japanese art significantly influenced local productions. To exemplify this phenomenon, we address the influence of nanban art on the mural painting The great martyrdom of Japan in 1597 in Cuernavaca, Morelos, Mexico.
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Salokhiddinova, Aziza Bakhtiyor Qizi. "EYE-RELATED PHRASES IN JAPANESE AND UZBEK LANGUAGE." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 05 (May 30, 2021): 62–68. http://dx.doi.org/10.37547/philological-crjps-02-05-15.
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Eyes are organs of the visual system. The human eye is a sense organ that reacts to light and allows vision. It well known that the eye is a sensory organ, and while seeing protects us from external dangers, we perceive the external environment. That is why this part of the body is so important. Sight, whose main function is to help a person feel different things. Thanks to this member, many works of art have created. That is, writers wrote down what they saw with their own eyes. This article provides an in-depth analysis of the phrases in which these eye functions transferred in Japanese and Uzbek languages.
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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 (December 5, 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 artistic practice and contemporary street art culture. By specifying the agents of power and performance in Fujita’s works, a greater understanding of the hybrid world of his colourful graphic paintings can be found.