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Academic literature on the topic 'Painting, Japanese Western influences'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Painting, Japanese Western influences"

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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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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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Лю, Тяньцюань. "China - Japan - Europe: Chinese painting‘s absorption of western European traditions in the late 19th - early 20th century." Академический вестник УралНИИпроект РААСН, no. 3(54) (September 30, 2020): 85–90. http://dx.doi.org/10.25628/uniip.2022.54.3.014.

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В статье исследуется влияние западноевропейского искусства на китайскую живопись, которое шло через опыт японских художников и обучение в Японии китайских мастеров. Роль японской культуры в освоении китайским искусством западноевропейских традиций до сих пор остается недооцененной, часто исследователи не упоминают о связях с Японией, обращаясь сразу к периоду обучения китайских художников в европейских странах, прежде всего во Франции, который был по времени позднее. Однако именно мастера Страны восходящего солнца в конце XIX - начале XX века серьезно повлияли на формирование нового «европейского» языка изобразительного искусства Китая. The article examines the influence of Western European art on Chinese painting, which went through the experience of Japanese artists and training of Chinese masters in Japan. The role of Japanese culture in mastering the Western European traditions in Chinese art is still underestimated, and often researchers do not mention the ties with Japan, referring directly to the period of training of Chinese artists in European countries, primarily in France, which was later in time. However, it was the Japanese masters in the late 19th and early 20th centuries that seriously influenced the formation of the new «European» visual language of China.
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Możdżyńska-Nawotka, Małgorzata. "An Inspiring Object: A Wedding Uchikake Kimono from the Collection of the National Museum in Kraków and its Multiple Representations." Costume 56, no. 2 (September 2022): 183–207. http://dx.doi.org/10.3366/cost.2022.0230.

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The article is concerned with a Japanese wedding uchikake kimono, c. 1800–1850, acquired by distinguished Polish collector Feliks ‘Manggha’ Jasieński in 1900, the nuanced issues surrounding its multiple representations in Polish painting and photography during the period 1900–1908, and the multifarious meanings with which the garment was imbued. The uchikake’s original features exerted a seminal formal influence upon its representations. The interpretive process was also informed by perceptions concerning the woman’s status in society and marriage in Japan and in the West, Western and Japanese artistic traditions, as well as current Japonisme in art and fashion. In each of its representations, the uchikake also conveyed personal meanings important to the artist/wearer.
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Tornier, Etienne. "True or False: Japonisme and the Historiography of Modern Design." Journal of Japonisme 2, no. 2 (July 20, 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 predecessors’ biased view on the artistic phenomenon. By drawing a distinction between a “good” vs. “bad” interpretation of Japanese art, their writings participated in the formation of a certain history of modern design.
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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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Park Eun-soon. "Jeong Seon’s True-view Landscape Painting and the Western Influences." KOREAN JOURNAL OF ART HISTORY 281, no. 281 (March 2014): 57–95. http://dx.doi.org/10.31065/ahak.281.281.201403.003.

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Joo, Hyun-ho. "The Translingual Practice of Meishu in Early Twentieth-Century China." Archiv orientální 85, no. 1 (May 18, 2017): 119–34. http://dx.doi.org/10.47979/aror.j.85.1.119-134.

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This paper begins by examining the discourse on the term and concept of meishu that emerged in early twentieth-century China and was centered on how to construct meishu as a form of cultural establishment and a discipline distinct from other art genres. It then considers the social and cultural contexts behind the evolution of the meaning of meishu, focusing on Chinese artists’ and art critics’ complicated attitudes toward both Chinese artistic tradition and the influence of Western art, as reflected in their varied views on literati painting and its xieyi tradition. This paper demonstrates that the Chinese art world’s process of redefining meishu as fine arts was a clear indicator of the artistic endeavor to rediscover the roles of painting in Chinese society. Meanwhile, the paper also pays renewed attention to literati painting and its xieyi tradition by rethinking the relationship between the long-standing literati painting tradition and the increasing Western artistic trends in China. The Chinese art world of the early twentieth-century constantly attempted to encompass both Chinese and Western painting traditions, and relentlessly tried to merge the strengths of the Chinese tradition with Western influences in order to pave the way for a new Chinese painting tradition.
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Foxwell, Chelsea. "The Painting of Sadness? The Ends of Nihonga, Then and Now." ARTMargins 4, no. 1 (February 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 distinguishable from the rest of artistic production. This led to a conundrum in which nihonga, constituted in an age of Orientalism by Western and Japanese fears about the loss of a truly “Japanese” form of painting, has been obliged to reaffirm and reiterate what Kitazawa Noriaki has called its “sad history” of segregation in order to avoid extinction. By examining a series of paintings and written statements that blur the line between nihonga and the rest of modern-contemporary artistic production, I question the practicality and the benefits of continuing to uphold nihonga and tradition-based contemporary as discrete categories of contemporary art.
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Bolewski, Christin. "Man, Nature and Technology—Eastern Philosophy, Global Issues and Western Digital Visualization Practice." Leonardo 51, no. 3 (June 2018): 291. http://dx.doi.org/10.1162/leon_a_01519.

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This practice-based research project explores cross-cultural influences between the West and the East. It reinvestigates relationships of man and nature in Eastern traditional art and philosophy and transposes the content to contemporary global environmental issues. The outcomes are two ambient digital video art animations presented as video painting on high-resolution wall-mounted flat screen displays.
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Dissertations / Theses on the topic "Painting, Japanese Western influences"

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Ng, Yuk-lan, and 吳玉蘭. "Mid-Muromachi flower and bird painting in Ashikaga painting circles." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45015624.

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Ng, Yuk-lan, and 吳玉蘭. "Sesshu and Chinese academic painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hdl.handle.net/10722/210304.

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Hockley, Allen F. "Harunobu : an Ukiyo-e artist who experimented with Western- style art." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28070.

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From the beginning of serious art historical study of Japanese woodblock prints or Ukiyo-e, the artist Suzuki Harunobu (1725-1770) has been accorded a prominent position in the development of that art form primarily because of his role in the creation of the first full colour prints. This, and his particular conception of feminine beauty which he chose to illustrate most often as the main subject of his art, made him the dominant artist of his generation. The popularity he achieved during his lifetime was monumental, but he met with a premature and untimely death. Shortly after his death Shiba Kōkan (1747-1818), a young artist just beginning his career, made forgeries of Harunobu's prints and later admitted to doing so in his autobiography. Based on Kōkan's confession, there developed among art historians and connoisseurs, a long running, at times heated and, as yet, unresolved debate focussed upon determining which of Harunobu's prints are in fact forgeries. Because Kōkan eventually acquired fame as an artist who experimented with styles and techniques newly imported to Japan from Europe, Harunobu's prints that contain linear perspective, one such Western technique, have traditionally and without question been designated as forgeries. To this author, making such an attribution based on this criterion seems somewhat illogical. Why would Kōkan introduce something foreign to Harunobu's style into prints he intended to pass off as Harunobu's originals? The simplest resolution to this quandary is to assume that Harunobu must have also been experimenting with imported European styles. Based on this premise, this thesis introduces literary and visual evidence linking Harunobu to a number of sources of European-style art. Much of this evidence was uncovered through a re-examination of Harunobu's prints and literary accounts of his life in accordance with the social and artistic context in which he worked. The prints and the documents which this thesis discusses have long been known to art historians. They simply needed to be reworked to support this premise. This thesis does, however, introduce one print from the collection of the Oregon Art Institute which seems to have been overlooked by other scholars. It provides a clear example of Harunobu's Western-style art and through visual analysis of it, its sources can be identified among the Western-style megane-e of Maruyama ōkyo ( 1733-1795). The concluding section of this thesis examines the consequences of this evidence. Two of the so-called forgeries are reattributed to Harunobu and his prints as a whole are recast within the tradition of Western-style art in Japan.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Kouloumpi, Eleni. "Western-European influences on the post Byzantine icon painting technique of Crete and the islands of Ionion." Thesis, De Montfort University, 2007. http://hdl.handle.net/2086/4347.

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The post-Byzantine Art was not only one of the most important artistic movements of Greece, but it was also a period in which serious and decisive changes took place. The most important change was the change of the materials and techniques; from egg yolk to drying oil and from panel paintings on wood to easel paintings on canvas. A series of a hundred and twenty one panel paintings, representative samples of this period (late 15th century up to the early 19th century) and from the work of the most important artists, who represent this period but who also contributed to the evolution of the later pictorial art were studied in the current research. Trying to find evidence of time and location for changes in practice between Constantinople, Greece and Venice, two hundred and one samples were collected from Crete, Athens Thessaloniki, Cephalonia, Zakynthos and Patmos. The aim was to provide timellocation data slices concerning the creation of the artwork~nd to identify the materials present in order to be able to detect any possible changes to the technique. The research proved to be quite a complicated task, not only due to the nature of the materials studied, but also due to the limited samples and sample quantity available. A multi-method approach was employed in order to characterise the artists' materials. The analytical means with which the investigation was carried out were: Energy Dispersive X-ray Analysis, .Fourier Transform Infrared Microscopy and Gas Chromatography. Additionally,· other.two techniques were used to offer complementary information wherever necessary: Raman microscopy and staining of cross-sections. Pure binding media, as well as emulsions were detected, while the nature of the selected pigments was identified. The artistic changes that took place in the postByzantine of painting did record on the techniques available. It is obvious that while in the Byzantine art the main binder is egg yolk, immediately after the formation of the post-Byzantine School egg/oil emulsion and drying oil are introduced. In the 16th century there seems to be a rise in the use of drying oils, either in the form of an additive layer over a proteinaceous one or in the form of a single layer binder. The 17th century establishes the use of emulsions, until the 18th century where the. use of drying oils prevails. This unexpected sequence of changes was repeated through all the schools studied, it seems reproducible through each series of samples and is not being influenced by other considerations. The results of this research led to one main conclusion: Western Europe did affect the icon painters. It gave them the examples and the materials for them to free themselves and move on to more contemporary styles. Only a fraction of the data obtained has 'been published. The results of this study may have thrown some light onto this dark transitional period of the Hellenic art, but as research never ends, new questions have been born, for scientists to answer.
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Desjardins, Kelly. "Fence, Flavor, and Phantasm: Balancing Japanese Musical Elements and Western Influence within an Historical and Cultural Context." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157602/.

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Given the diversity found in today's Japanese culture and the size of the country's population, it is easy to see why the understanding of Japanese wind band repertoire must be multi-faceted. Alongside Western elements, many Japanese composers have intentionally sought to maintain their cultural identity through the addition of Japanese musical elements or concepts. These added elements provide a historical and cultural context from which to frame a composition or, in some cases, a composer's compositional output. The employment of these elements serve as a means to categorize the Japanese wind band repertoire. In his studies on cultural identities found in Japanese music, Gordon Matthews suggests there are three genres found within Japanese culture. He explains these as "senses of 'Japaneseness' among Japanese musicians." They include Fence, Flavor, and Phantasm. Bringing a new perspective to the idea of Japanese influence, I trace the implementation of these facets of Japanese music through the wind band music of Japanese composers. I demonstrate that Japanese wind band genres are the result of a combination of Japanese musical elements and Western influence and argue that the varying levels of this combination, balanced with historical and cultural context, create three distinct genres within the Japanese wind band repertoire.
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Lo, Albert. "The Impact of American Conductors on the Development of Japanese Wind Band Repertoire as Evidenced in the Programming of Tokyo Kosei Wind Orchestra, Musashino Academia Musicae, Showa Academia Musicae, Senzoku Gakuen School of Music, and Tokyo University of the Arts." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404612/.

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The wind bands in Japan are considered by many scholars and wind band conductors to be among some of the finest ensembles in today's wind ensemble medium. The literature and repertoire of Japanese ensembles have evolved from orchestral transcriptions, patriotic music, and military marches to original compositions by European, American, and Japanese composers. British conductor Timothy Reynish states that Japanese wind band music has looked traditionally towards the United States and occasionally United Kingdom for inspiration and repertoire. This phenomenon can be attributed to the many collegiate American and the few English wind band conductors who traveled to Japan as guest conductors, and in some cases, became residents of Japan. The focus of this study is to closely examine this significant impact of American collegiate wind band conductors, their influence on Japanese programming and how that programming has affected the collegiate repertoire. This study includes surveys of repertoire, concert programs, discographies of recordings, and interviews with prominent American conductors currently conducting in Japan. This research documents the impact that American wind band conductors have had on the programming of Japanese wind bands and how their influence have altered the collegiate repertoire. Evidence of this impact is documented by Toshio Akiyama, who states that "The influence of visiting musicians from abroad must be measured as one of the most influential aspects affecting Japanese band growth. Although the effect of Japanese musicians traveling to the United States or Europe has been beneficial, the overall impact on large numbers of people has been more directly due to the visitors from abroad."
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Kobayashi, Hiromitsu. "Figure compositions in seventeenth century Chinese prints and their influences on Edo period Japanese painting manuals." 1987. http://catalog.hathitrust.org/api/volumes/oclc/23164691.html.

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"口岸文化: 從廣東的外銷藝術探討近代中西文化的相互觀照." 2012. http://library.cuhk.edu.hk/record=b5909418.

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劉鳳霞.
"2012年8月".
"2012 nian 8 yue".
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 183-201).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Liu Fengxia.
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Culy, Anna M. "Clothing their identities : competing ideas of masculinity and identity in Meiji Japanese culture." 2013. http://liblink.bsu.edu/uhtbin/catkey/1721294.

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This is an in-depth analysis of competing cultural ideas at a pivotal time in Japanese history through study of masculinity and identity. Through diaries, newspaper articles, and illustrations found in popular periodicals of the Meiji period, it is evident that there were two major groups who espoused very different sets of ideals competing for the favor of the masses and the control of Japanese progress in the modern world. Manner of dress, comportment, hygiene, and various other parts of outward appearance signified the mentality and ideology of the person in question. One group espoused traditional Japanese ideas of masculinity and dress while another advocated embracing Western dress and culture. This, in turn, explained their opinions on the direction they believed Japan should take. Throughout the Meiji period (1868-1912), the two ideas grew and competed for supremacy until the late Meiji period when they merged to form a traditional-minded modernity.
Department of History
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Books on the topic "Painting, Japanese Western influences"

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Takashina, Erika. Ikai no umi: Hōsui, Kiyoteru, Tenshin ni okeru Seiyō. Chiba-ken Matsudo-shi: Miyoshi Art Pub., 2000.

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Japonisme in Western painting from Whistler to Matisse. Cambridge: Cambridge University Press, 1992.

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Bijutsukan, Hokkaidōritsu Migishi Kōtarō. Kita no kojin bijutsukan sanpo: Fūdo o irodoru 6-nin no yōgakatachi = Migishi Kotaro Museum of Art, Hokkaido : special exhibition, 31 May-14 Jul. 2002. [Sapporo-shi]: Hokkaidōritsu Migishi Kōtarō Bijutsukan, 2002.

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Aōdō Denzen to sono keifu: Kikakuten = Aeudoo Denzen en zijn kring. [Aizuwakamatsu-shi]: Fukushima Kenritsu Hakubutsukan, 1990.

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Western influence on Japanese art: The Akita Ranga Art School. Leiden: Hotei, 2004.

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Johnson, Hiroko. Western influences on Japanese art: The Akita Ranga Art School and foreign books. Amsterdam: Hotei, 2005.

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Mayekawa, Seiro. Blick nach Westen: Die Aufsätze und Vorträge in deutscher Sprache : Festgabe zum siebzigsten Geburtstag am 23. Februar 1990. Nürnberg: Verlag des Germanischen Nationalmuseums, 1990.

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Kindai Nihon no yōga to Seiyō: Mohō to sōzō no isseiki = Western painting and modern Western style painting in Japan : one century from imitation to creation. Shizuoka-shi: Shizuoka Kenritsu Bijutsukan, 1986.

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Edo jidai no Ranga to Ransho: Kinsei Nichi-Ran hikaku bijutsushi. Tōkyō: Yumani Shobō, 2004.

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Japan) Tabako to Shio no Hakubutsukan (Tokyo. Kōmō bunka: Sakokuka no hakurai bunbutsu to Dejima no seikatsu : tokubetsuten. Tōkyō: Tabako to Shio no Hakubutsukan, 1986.

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Book chapters on the topic "Painting, Japanese Western influences"

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Wells, Audrey. "Sun’s Western Influences in the Japanese Crucible." In The Political Thought of Sun Yat-sen, 29–38. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9781403919755_3.

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"CHAPTER V. Western-Style Painting in the Early Meiji Period and Its Critics." In Tradition and Modernization in Japanese Culture, 181–220. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400869015-010.

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Huang, Michelle Ying-Ling. "Chinese Artistic Influences on the Vorticists in London." In British Modernism and Chinoiserie. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748690954.003.0005.

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This chapter examines how young poets and artists became interested in Chinese art that in the 1910s was expressed in the tenets of Vorticism. When Ezra Pound came to London in 1908 he got involved in the circle of British poets, artists and critics who held regular social gatherings at the Vienna Café in New Oxford Street. Among them was Laurence Binyon, poet and Assistant Keeper of Prints and Drawings at the British Museum, who shared with the group his scholarship in Oriental painting. When Binyon was developing his friendship with Pound, Percy Wyndham Lewis and other British Modernists, new art movements were rapidly emerging in Europe. At the same traditional Chinese art was becoming available in museums and in London and other Western art markets. Coinciding with a dynamic change in modern European art, Oriental ideas became an alternative source of inspiration for the West. In 1914, Pound collaborated with Lewis and Henri Gaudier-Brzeska to promote a new artistic movement for which Pound coined the name Vorticism. Gaudier-Brzeska took his inspiration from Chinese animal bronzes of the Zhou dynasty and Lewis from the landscape paintings of the Song dynasty. Their common interest in Chinese art, helped formulate the principles of Vorticism.
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Thomas, Roger K. "Introduction." In Counting Dreams, 1–17. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501759994.003.0001.

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This chapter introduces Nomura Bōtō, a loyalist nun from Fukuoka who left a substantial corpus of poetry and prose writings and played a role in shaping the events in northern Kyushu and western Honshu. The chapter expounds on the rise of waka, which is a legacy of an age prior to foreign influences. Moreover, Bōtō's experiences illustrate the traditional poetry genre, class structure, and changing role of women in late Tokugawa Japan alongside the chiliastic atmosphere in some sectors of Bakumatsu society. The chapter also notes the Japanese concept of millenarianism wherein the user attempts to incongruously impose Western concepts.
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Merviö, Mika Markus. "Interpretation and Reconstruction of Environment, Aesthetics, and Politics in Japan." In Advances in Religious and Cultural Studies, 53–75. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1807-6.ch004.

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The tradition of Japanese thinking on environment has developed in close interaction with both Asian and Western influences. However, Japanese society has constantly created new ideas and representations of reality that reflect the actual environment and changes in society. This chapter analyses the continued transformation of Japanese society and ideological constructions especially in the areas of environment and aesthetics. In particular, it is worthwhile to analyse the changing relationship to environment as it is depicted in Japanese art and thought. However, artistic expression is also vulnerable to the ideological construction of past and present, and, as always with expression, ideas and depiction of ideas do not only stem directly from reality, such as physical nature, or experiences of people, but may also be part of a political or ideological agenda to reconstruct the past or present.
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Levine, Gregory P. A. "Danxia Burns a Buddha." In Long Strange Journey. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824858056.003.0004.

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Chapter 3 focuses on a medieval painting in the Zen art canon—Yintuoluo’s painting of Danxia Tianran (738/39-824), a Chinese monk said to have burned a wood statue of the Buddha—and situates it within its modern surround, particularly in relation to Zen iconoclasm, a prominent trope in postwar Zen cultural production including Jack Kerouac’s The Dharma Bums and other countercultural works. The chapter suggests how premodern representations of the Danxia tale circulated in the modern world through art collecting, photographic reproduction, translations of hagiography into modern Japanese and English for lay and non-practicing readers, and “reverse orientalist” critique of Western views of Buddhism. It notes too the tale’s representation by modern artists in Japan, including Yamamoto Shunkyo and Okamoto Ippei. Whatever the representation of Danxia burning the Buddha meant in preceding centuries, in the early twentieth century, it responded to new prospects, ambitions, and conflicts, as much geo-political as personal.
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Smyth, Patricia. "Introduction." In Paul Delaroche, 1–22. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070217.003.0001.

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The ‘problem’ of Delaroche is introduced. The apparent ‘transparency’ of his work lay at the heart of his popularity with the newly expanded, more socially diverse Salon public of the early nineteenth century, on whom his pictures were observed to have a sensational effect. However, this quality has been central to Delaroche’s problematic status in the discipline of art history, which approaches works of art through technical analysis of stylistic influences and iconographical appropriations. Revisionist scholarship seeking to assert Delaroche’s place in the history of Western art has effectively steered the discussion away from the ‘reality effect’ of the works, the very quality at the centre of the artist’s popularity with nineteenth-century spectators. The concept of ‘remediation’ is introduced as a way to approach the immediacy of Delaroche’s painting and its relationship to other forms such as stage spectacle.
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Helleiner, Eric. "Another Chinese Contribution and Korea’s Gaehwa Group." In The Neomercantilists, 261–80. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501760129.003.0010.

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This chapter discusses the ideologies of Chinese neomercantilist Liang Qichao and the emergence of neomercantilist thought in Korea. Liang's idea of neomercantilism rejects the notion of nationalism as a stepping stone towards a cosmopolitan future while coming into terms with Western and Japanese neomercantilist influences and Chinese intellectual tradition. The chapter notes a group of Gaehwa thinkers promoted neomercantilist views following Korea's economic opening due to external pressure. Additionally, Gaehwa thinkers drew on Silhak reformist thought. The chapter mentions how East Asian neomercantilism placed heavy emphasis on export-led growth and more ambitious kinds of government economic activism than Friedrich List did.
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Ball, Warwick. "The Sasanian Empire and the East: A Summary of the Evidence and its Implications for Rome." In Sasanian Persia, 151–78. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474401012.003.0007.

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Sasanian studies in the past have focused mainly on its western regions, with its well-known remains from Azerbaijan through to Mesopotamia and Fars, and its relationship with the Roman Empire to the west. However, more recent discoveries in the east have emphasised the equal importance of these more neglected regions: the investigations of the Gorgan Wall, new fire temple complexes at Bandiyan and Sarakhs, the Bactrian documents, the Ghulbiyan painting and the rock relief of Shapur at Rag-e Bibi to name just some. This chapter will offer an overview of the Sasanian material evidence, mainly in Afghanistan, as well as the traces of Sasanian influences in art and archaeology further east. We will then attempt to identify the Sasanian presence in the archaeological record in Afghanistan and tie this to some of the documentary and literary evidence. In the light of this evidence it is then possible to reassess the Sasanian Empire, its focus and its attitudes to the west.
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McLelland, Mark. "Takahashi Tetsu and Popular Sexology in Early Postwar Japan, 1945–1970." In Global History of Sexual Science, 1880-1960. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520293373.003.0010.

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This chapter examines popular sexology in Japan during the period 1945–1970 by focusing on the career of Takahashi Tetsu, one of the country's most prominent sexual scientists in the post-World War II era. Takahashi promulgated a liberal version of Freudianism, particularly his acceptance of the ubiquity of “sexual perversity,” and collected, published, and thereby helped popularize a wide variety of information about sexuality. After providing an overview of Takahashi's prewar influences and activities, the chapter considers the spread of sexological knowledge during the time of Occupation (1945–1952). It then shows how Takahashi mobilized the works of Alfred C. Kinsey and other Western sexual scientists in the early 1950s and attempted to synthesize them with what he saw as an indigenous Japanese approach. It concludes with a discussion of Takahashi's legacy in the field of sexual science.
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