Journal articles on the topic 'Painting, Japanese Western influences'
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1
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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Filonenko, Nadezhda S., and Maria S. Tretyakova. "Calligraphy of Images: Artworks by Yukei Teshima." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 164–79. http://dx.doi.org/10.21638/spbu15.2022.108.
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Postwar Japanese calligraphy has been little studied in Western art history, and in particular, there is no analysis of the work of one of the most important calligraphers of postwar Japan,Yukei Teshima (1901–1987). The relevance of this research lies in the fact that the Calligraphy of Images (Japanese “Shosho”), created by the master, is an example of building a dialogue between fundamentally different traditions of Western and Eastern art, a dialogue that allows the calligrapher to see the uniqueness of Japanese calligraphy, including its spiritual and aesthetic content. The purpose of this study is to determine the specifics of Teshima’s work, using the example of his most famous artworks: “Hokai” (literally “Collapse”) (1957), containing the image of houses collapsing one after another from the explosions of aerial bombs at the end of World War II; and “Tsubame” (“Swallow”) (1960), giving rise to the feeling of flight through a “dancing” movement of a bird. The authors conclude that, although Tesima’s “calligraphic paintings” show a connection simultaneously with the Chinese roots of Japanese calligraphy and the avant-garde painting of the West, the calligrapher remains faithful to the Japanese artistic and aesthetic tradition. Unlike Chinese calligraphy, traditionally understood as a tool for “nurturing life”, or avant-garde painting generated by Western conceptuality, Teshima’s calligraphy expresses the Buddhist ideals of accepting one’s destiny (one’s path to enlightenment) and lack of attachment. The calligrapher uses the “hisshoku” (“rusty brush”) writing technique, which involves “overcoming” the brush and conveying the tactile sensation of a stroke (a symbol of overcoming the materiality of the world), and also forms the “boundless space” of the sheet, i. e. “aki”, which he calls “Space of [divine] love” and connects with the free soaring of the spirit.
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Ueyama, Takahiro. "The Development of the Japanese Nursing Profession: Adopting and Adapting Western Influences." Social History of Medicine 18, no. 3 (December 1, 2005): 521–22. http://dx.doi.org/10.1093/shm/hki072.
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Petkovic, Sreten. "Sava Krabulevic, the painter of the late seventeenth and early eighteenth century." Zograf, no. 33 (2009): 159–66. http://dx.doi.org/10.2298/zog0933157p.
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The painter Sava Krabulevic is known only as the author of the iconostasis in the Monastery of Orahovica in eastern Slavonia. This work, which he produced in 1697, attracted the attention of Serbian art historians because some of the icons show Western influences. The article describes how Krabulevic found himself in Moscow (1688-1694) by dint of circumstance and adopted some of the West European painting techniques through Russian icon painters.
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Sonnenberg-Musiał, Katarzyna. "Z japońskiej perspektywy." Między Oryginałem a Przekładem 28, no. 4(58) (December 18, 2022): 127–39. http://dx.doi.org/10.12797/moap.28.2022.58.06.
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FROM A JAPANESE PERSPECTIVE: THE WESTERN INFLUENCES IN THE WORKS OF ŌGAI
The article focuses on how Mori Ōgai (1862-1922), a Japanese writer, translator and literary critic, incorporated references to European literature and culture in his novellas: Maihime (The Dancing Girl, 1890), Mōsō (Delusion, 1911) and Hanako (1910). The hermeneutic approach sheds light on the Japanese author’s vivid interest in foreign languages, cultural symbols, philosophy and arts which contributes to the intricate image of foreign influences in his oeuvre and invite his readers and translators in Europe to revisit their own cultural tradition.
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Hastings, Sally A. "The Development of the Japanese Nursing Profession: Adopting and Adapting Western Influences (review)." Monumenta Nipponica 61, no. 3 (2006): 416–18. http://dx.doi.org/10.1353/mni.2006.0031.
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Касьяненко, К. М., Л. Є. Янковська, and С. Є. Сапко. "ОСОБЛИВОСТІ УКРАЇНСЬКОГО ЖИВОПИСУ У ПОСТМОДЕРНІСТСЬКОМУ ВИМІРІ." Art and Design, no. 3 (December 13, 2021): 73–81. http://dx.doi.org/10.30857/2617-0272.2021.3.7.
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The purpose of the study is to identify the postmodernism principles' influence on formation of the distinctive features of Ukrainian painting in the XXIstсentury. Methodology. The research uses a culturological approach to consider postmodernism as a creative method and factor that influences the activities of Ukrainian artists. Formal-stylistic analysis is applied to clarify the connection between creative practices and the principles of postmodernism and to determine their features as well.Results.The analysis of Ukrainian artists' painting practice of the XXI century in the context of the postmodern worldview was carried out. The study focuses on postmodernism as a factor in the development of various artistic styles. The artistic and stylistic features of painting over recent years in Ukraine were analyzed. There was revealed the natural influence of postmodernist principles on domestic painting, characterized by the features of postmodernism, which is manifested in a variety of areas (conceptualism, transavant-garde, contemporary, etc.) and syncretism in art. Although the latest painting practices are integrating into European culture and tend to the Western European tradition, Ukrainian art still saves its distinguishing features. It was found that a feature of Ukrainian postmodernism is the conceptualization of painting, the introduction of deep content into a new format of painting and the synthesis of traditional fine art and new technologies. Scientific novelty lies in the identification of the main distinctive features and patterns of Ukrainian postmodern painting development. The practical significance. Presented results aid to trace postmodernism as a factor of influence on the peculiarities of the formation of new directions in Ukrainian painting practices, which can be used as a theoretical basis for further art criticism analysis of contemporary painting.
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Doering, Keiko, Judith McAra-Couper, and Andrea Gilkison. "Hermeneutic Phenomenology: Bridging Western and Japanese Perspectives and Languages." International Journal of Qualitative Methods 21 (January 2022): 160940692211036. http://dx.doi.org/10.1177/16094069221103667.
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This article offers the reader methodological insights emerging from a hermeneutic phenomenological study that examined the meaning of the woman–midwife relationship in Japan. The methodology of hermeneutic phenomenology was chosen because it is well suited to reveal women’s and midwives’ lived experience that is often taken for granted in day-to-day maternity care settings. However, implementing the methodology was not without its challenges. These challenges included whether hermeneutic phenomenology, based on Western philosophy, could be appropriate for conducting a study involving a researcher and participants who identify as Japanese. Further, while the study required final write up in English, the interviews were conducted in Japanese. Utilizing hermeneutic phenomenology relies on language as the tool for accessing the phenomenon of enquiry. However, Japanese culture is less expressive and, relative to Western cultures, values non-verbal communication. Beyond verbal expression, language also conveys unique influences of each culture. Although it may be challenging to conduct research between different cultures, and their unique ways of thinking and languages, it is not an impossible situation and can be rewarding. The value of using hermeneutic phenomenology for a Japanese centered study helped to convey the meaning of the woman–midwife relationship in Japan. This article details the unique process of the study, in terms of the philosophical foundation and languages, to provide methodological insights and advances for future cross-cultural qualitative research.
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Kamakura, Toshimitsu, Juko Ando, and Yutaka Ono. "Genetic and Environmental Influences on Self-Esteem in a Japanese Twin Sample." Twin Research 4, no. 6 (December 1, 2001): 439–42. http://dx.doi.org/10.1375/twin.4.6.439.
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AbstractThe purpose of the present study is to clarify the mechanism of Japanese self-esteem (SE) in genetic and environmental influences using twin methodology. Eighty-one pairs of adolescent twins, including 50 pairs of monozygotic (MZ) twins and 31 pairs of dizygotic (DZ) twins, participated in this study. Self-esteem was assessed using the Rosenberg Self-Esteem Scale (RSES), translated into Japanese. As a result of using univariate twin analyses, model comparisons using the Akaike Information Criterion (AIC) indicated that the AE model was the best fit (AIC = −5.35). In the best-fitting AE model, the heritability (a2) of SE was revealed to be moderate, accounting for 49% of the variance; environmental influences (individual-specific environmental factors) explained 51% of the variance. These results are consistent with the findings of some behavioral genetics studies of SE in the West and show that there is no difference between Western and Japanese populations in the mechanism of SE considering genetic and environmental influences. The results also suggest the importance of considering both genetic and environmental factors in studies of Japanese SE.
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Gronek, Agnieszka. "The Renaissance as a Process: the Transformation in Orthodox Church Painting in the Polish-Lithuanian Commonwealth." Kyivan Academy, no. 19 (December 29, 2022): 113–51. http://dx.doi.org/10.18523/1995-025x.2022.19.113-151.
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The Ruthenian Orthodox art in the Polish-Lithuanian Commonwealth in the sixteenth century opened itself to the influences of Western European culture. The article is devoted to а description and analysis of this phenomenon. Although for most of the seventeenth century no work emerged that was pure enough in terms of its style that it could be termed а fully Renaissance work, this fact does not mean that there wasn’t any Renaissance at all. Here the Renaissance was not а style, an epoch, or а period, but а process that unfolded over two centuries, without а strictly defined beginning and end.
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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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Hioki, Naoko Frances. "Depictions of the Journey to the Heavenly Realm in Early Modern Catholic and Japanese Buddhist Iconography." Religion and the Arts 20, no. 1-2 (2016): 135–59. http://dx.doi.org/10.1163/15685292-02001007.
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This article works to identify an intersection of the Catholic and Buddhist pictorial traditions with regard to the symbolism of the journey to the spiritual world. In both Christian and Buddhist traditions, the river/ ocean is a popular symbol that designates the border between this world and the other world. A work of western-inspired Japanese folding screens known as Yōjin Sōgakuzu (Europeans Playing Music) is an outstanding example that makes use of the symbolism of the river to allude to one’s pilgrimage to the other world in the guise of a secular waterfront scene. The folding screens were painted in the seventeenth century by Japanese artists who were affiliated with the art studio founded by the Jesuits. An investigation of European sources of the painting will show how the painters modified the famous Catholic iconography of “The Ship of the Church” to match the taste of the Japanese patrons of the time. Further, comparisons with other Japanese paintings that similarly deal with the theme of the river will show that such secular scenes of waterfront leisure could demonstrate to the Japanese audience the life in the world beyond, as well as a journey to that world they anticipated.
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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Mabi, KATAYAMA. "Tea Bowl with Decoration of Standing Cranes (Tachizuru): Made-to-order Ceramics Produced in the Japan House Kilns." Korean Journal of Art History 311 (September 30, 2021): 151–82. http://dx.doi.org/10.31065/kjah.311.202109.005.
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The Japan House (Korean: waegwan; Japanese: wakan) in the port city of Pusan, was a Japanese outpost during the Chosŏn dynasty. In the period 1639 to 1718, the Sō clan of Tsushima, commissioned made-to-order ceramics here, reflecting Japanese requirements, and a long-standing Japanese enthusiasm for kōrai chawan (“Korean tea bowls”), as demanded by the tea authorities in Japan. The focus of this paper is a group of tea bowls with decoration of standing cranes, the most representative type of made-to-order tea bowls produced at the Japan House kilns. Historical records and recent excavations of kiln sites have revealed that the type of tea bowl with standing crane design enjoyed popularity and continued to be produced until the closure of the Japan House kilns. A bowl of the deep, cylindrical shape adheres closely to early Koryŏ prototypes, while its notched foot resembles those of soft porcelain bowls made for ritual use. The subject of its design motif can be traced back to the ubiquitous cranes of Koryŏ inlaid celadon. The ethereal crane, traditionally associated with longevity, was popular in East Asian pictorial culture. The standing crane design on this type of tea bowl displays a combination of influences from the crane painting by the Southern Song painter Muqi (act. ca. 1240-75) and its reinterpretation by the Kano painters. This paper seeks to define the characteristics of the Japan House kiln products by examining its best-known type of tea bowl with decoration of standing cranes. It elucidates how the tea bowl with standing crane design is clearly not an imitation of early Koryŏ celadon but shows a range of decorative styles that reflect the tastes of the Edo-period daimyo tea world. While adapted to the tastes of Japanese consumers, the tea bowl with standing crane design produced at the Japan House kilns display influences from regional kilns in Chosŏn Korea. In this light, the type of tea bowl with decoration of standing cranes manifests a hybrid state of shifting boundaries and demarcations where Japanese and Korean influences coexisted and encountered with difference.
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Yao, Keisuke. "The Fundamentally Different Roles of Interpreters in the Ports of Nagasaki and Canton." Itinerario 37, no. 3 (December 2013): 105–15. http://dx.doi.org/10.1017/s0165115313000855.
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With the expansion of Western power from the seventeenth century onward, many Asian countries were confronted with difficult political and economic problems in their relations with Europe. In several countries in Asia, in order to suppress Western cultural influences within their own nations, governments often employed foreigners as interpreters for their own diplomacy and trade with Europeans, with some governments even prohibiting their people from learning foreign languages.But, in the case of Japan, interpreters played a crucial role in both the study of the Dutch language and the integration of Western knowledge during the eighteenth and nineteenth centuries. It seems that early-modern Japanese interpreters were quite different from the interpreters of Western languages in other countries in Asia, as in Nagasaki interpreters of the Dutch language were shogunate-appointed Japanese nationals.Here I will examine and compare several aspects of the Chinese pidgin-English interpreters at Canton and the Japanese Dutch-language interpreters at Nagasaki, in particular their origins, incomes, duties, learning, and businesses. Through this examination I will demonstrate how the so-called Westernisation processes adopted in China and Japan were actually reflected in and represented by the different models of foreign trade at the ports of Canton and Nagasaki.
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Harris, Michael W., and Jane Thaler. "The soft power of the information sciences: Western influences on the development of Japan's library and archival systems." Library and Information History 36, no. 1 (April 2020): 32–48. http://dx.doi.org/10.3366/lih.2020.0005.
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The history of information practices in Japan runs parallel to its larger cultural influences — namely its long history of adaptation of the cultures of China and Korea, with a more recent turn towards the West. The soft power, the use of culture to extend influence over a foreign country, exerted by the US on Japanese libraries and archives can be felt in official policies and professional practices. In order to understand the variation and complicated nature of hegemonic influences the West has had on Japan's information culture, this paper will examine the history of librarianship and archival practices via the lens of practices imported to and/or avoided by the nation.
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Kouria, Aphrodite. "Secular painting in the Ionian islands and Italian art: Aspects of a multi-faceted relationship." Historical Review/La Revue Historique 13 (February 24, 2017): 29. http://dx.doi.org/10.12681/hr.11555.
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The contribution of Italian art, especially Venetian, was decisive to the secularisation of art in the Ionian Islands and the shaping of the so-called Ionian School, in the context of a broader Western influence affecting all aspects of life and culture, especially on the islands of Zakynthos and Corfu. Italian influences, mainly of Renaissance, Mannerism and Baroque art, can be identified both on the iconographic and the stylistic level of artworks, with theoretical support. This article explores facets of the dialogue of secular painting in the Ionian with Italian art in the eighteenth and nineteenth centuries, focussing on works and artists that highlight significant aspects of this multilayered phenomenon and also through secondary channels that expand the horizon of analysis. Procession paintings, with their various connotations, and portraiture, which flourished in secular Ionian art, offer the most interesting material as regards the selection, reception and management of Italian models and points of reference.
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Kang, Cindy. "Bonnard and the Folding Screen: Toward a Theory of Ornamentalism." Nineteenth Century Studies 33, no. 1 (December 1, 2021): 128–42. http://dx.doi.org/10.5325/ninecentstud.33.0128.
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Abstract Bonnard’s folding screens are generally understood as part of the phenomenon of japonisme, a widespread fascination with Japanese culture in Europe that emerged during the second half of the nineteenth century. When they begin to appear and then alter the representation of space in Bonnard’s painting, however, japonisme no longer provides an adequate framework for understanding their role in his art. I endeavor to account for the continued life of the non-Western object in the Western context by highlighting the folding screen’s capacity to disrupt and engender change even as it disappears from Bonnard’s late paintings. After an overview of the artist’s folding screens and their relation to japonisme, I trace their migration into Bonnard’s paintings, where the limits of this Western construct become more apparent. I propose an alternate framework—ornamentalism—within which to interpret their integration into the compositional structure of the late paintings. Ornamentalism views the ornamental object as a subject whose power to act is tied to its own degradation under imperialist and colonialist practices. Through it, I consider how the evolution of the folding screen in Bonnard’s art can help us think differently about the dynamics between Western artists and non-Western objects.
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Kulikova, Elena Yu. "Vitaly Ryabinin’s “Japanese watercolors”: genre and stanza experiments." Sibirskiy filologicheskiy zhurnal, no. 3 (2021): 100–112. http://dx.doi.org/10.17223/18137083/76/8.
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“Exotic” themes, extremely popular in art at the turn of the 19th-20th centuries, craving for “foreign,” for extraordinary travels to Africa, India, the East, determined not only the properties of plot-motive complexes in literature, painting, and music but also the features of genre structure of the Silver Age works. In his microcycle “Japanese watercolors” from the poetic book “Melody-trill chords,” the poet V. Ryabinin operates with lyric genres (sonnet, romance) and stanza forms (sextins, hexameters). Stylized genres and stanzas reveal the author’s technique and show classic solid forms in a new aspect. The poet uses Japanese names (“Niavari,” “Nipu,” “Kitamura”), immerses the reader into the world of Japanese words and images (“Harakiri,” “Arigato,” “Geisha,” “Sayonara,” “hasivar”), mentions geographical names (“Fujiyama,” “Sumidagawa,” “Kurisan”), and even composes the poems in the hokku (haiku) genre. These are exactly “watercolors” - the poems combining the richness of tone, dense and bright construction of space, and “black and white” graphicality of images and motives. To emphasize this protuberant solidity, “sketches” are placed in strict forms. Thus, from “drawing” to “drawing”, from text to text, the reader moves in the world of Japanese shadows created by Ryabinin. “Watercolors” are an attempt to comprehend the colors and shades of the Japanese soul by a European - sometimes in a European manner, using “Western tools.” From the oriental genres, the poet chooses only the hokku, and the rest of the poems are created in terms of European classical forms, the Japanese theme entirely penetrating the cycle of “Watercolours.”.
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Stosic, Ljiljana. "The bay of Cattaro (Kotor) school of icon-painting 1680-1860." Balcanica, no. 45 (2014): 187–202. http://dx.doi.org/10.2298/balc1445187s.
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Relying on post-Byzantine tradition, eleven painters from five generations of the Dimitrijevic-Rafailovic family, accompanied by Maksim Tujkovic, painted several thousand icons and several hundred iconostases between the late seventeenth and the second half of the nineteenth century. They worked in major Orthodox Christian monasteries in Montenegro, Kosovo and Metohija, Bosnia and Herzegovina and Dalmatia, but their works can mostly be found in modest village churches in the Bay of Kotor (Cattaro) and on the South Adriatic coast. The decoration of these churches was financially supported by the local population headed by elders. Along with a reconstruction of their biographies and a chronological overview of their major works, this paper seeks to trace stylistic changes in the Bay of Kotor school of icon-painting. While simply varying a thematic repertory established in earlier periods, the painters from the Bay of Kotor were gradually introducing new details and themes adopted from Western European Baroque art under indirect influences coming from the monastery of Hilandar, Corfu, Venice and Russia. This process makes this indigenous school of icon-painting, which spanned almost two centuries, comparable to the work of Serbian traditional religious painters (zografs) and illuminators active north of the Sava and Danube rivers after the Great Migration of the Serbs (1690). Despite differences between the two, which resulted from different cultural and historical circumstances in which Serbs lived under Ottoman, Venetian and Habsburg rules, similarities in iconography and style, which were inspired by an urge to counteract proselytic pressures, are considerably more important.
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Uno, Yoshinobu, Chizuko Nishida, Chiyo Takagi, Takeshi Igawa, Naoto Ueno, Masayuki Sumida, and Yoichi Matsuda. "Extraordinary Diversity in the Origins of Sex Chromosomes in Anurans Inferred from Comparative Gene Mapping." Cytogenetic and Genome Research 145, no. 3-4 (2015): 218–29. http://dx.doi.org/10.1159/000431211.
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Sex determination in frogs (anurans) is genetic and includes both male and female heterogamety. However, the origins of the sex chromosomes and their differentiation processes are poorly known. To investigate diversity in the origins of anuran sex chromosomes, we compared the chromosomal locations of sex-linked genes in 4 species: the African clawed frog (Xenopus laevis), the Western clawed frog (Silurana/X. tropicalis), the Japanese bell-ring frog (Buergeria buergeri), and the Japanese wrinkled frog (Rana rugosa). Comparative mapping data revealed that the sex chromosomes of X. laevis, X. tropicalis and R. rugosa are different chromosome pairs; however, the sex chromosomes of X. tropicalis and B. buergeri are homologous, although this may represent distinct evolutionary origins. We also examined the status of sex chromosomal differentiation in B. buergeri, which possesses heteromorphic ZW sex chromosomes, using comparative genomic hybridization and chromosome painting with DNA probes from the microdissected W chromosome. At least 3 rearrangement events have occurred in the proto-W chromosome: deletion of the nucleolus organizer region and a paracentric inversion followed by amplification of non-W-specific repetitive sequences.
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Nugroho, Dhimas Adi, Fitri Alfarisy, Afizal Nuradhim Kurniawan, and Elin Rahma Sarita. "Tren Childfree dan Unmarried di kalangan Masyarakat Jepang." COMSERVA Indonesian Jurnal of Community Services and Development 1, no. 11 (April 24, 2022): 1023–30. http://dx.doi.org/10.36418/comserva.v1i11.153.
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The entry of western cultural influences into Japan brought various kinds of trends, both in the form of technology, science and trends, one of which is the trend of child-free and unmarried, this trend began to be followed by Japanese people, especially in urban areas. child-free and unmarried trends. This research uses descriptive analysis method, describes the current trends in Japanese society, and data obtained from literature studies. The development of this trend has had a major impact on Japan, especially women and on the rate of population growth, the patriarchal culture that has existed for a long time has spurred Japanese women to voice their rights in self-determination. The feminist movement developed and had a great influence on Japanese women. From this trend, it can be concluded that population problems are starting to emerge, including the increasing number of elderly people and the low rate of population growth. In addition, the Japanese government's efforts have emerged so that the rights of Japanese women are fulfilled and population growth increases
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Mason, W. L., and T. Connolly. "What influences the long-term development of mixtures in British forests?" Forestry: An International Journal of Forest Research 93, no. 4 (February 11, 2020): 545–56. http://dx.doi.org/10.1093/forestry/cpaa003.
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Abstract Six experiments were established between 1955 and 1962 in different parts of northern and western Britain which used replicated randomized block designs to compare the performance of two species 50:50 mixtures with pure stands of the component species. The species involved were variously lodgepole pine (Pinus contorta Dougl.), Japanese larch (Larix kaempferi Lamb. Carr.), Scots pine (Pinus sylvestris L.), silver birch (Betula pendula Roth.), Sitka spruce (Picea sitchensis Bong. Carr.) and western hemlock (Tsuga heterophylla Raf. Sarg.). The first four species are light demanding, while Sitka spruce is of intermediate shade tolerance and western hemlock is very shade tolerant: only Scots pine and silver birch are native to Great Britain. In three experiments (Bickley, Ceannacroc, Hambleton), the mixtures were of two light-demanding species, while at the other three sites, the mixture tested contained species of different shade tolerance. The experiments were followed for around 50 years, similar to a full rotation of even-aged conifer stands in Britain. Five experiments showed a tendency for one species to dominate in mixture, possibly reflecting differences in the shade tolerance or other functional traits of the component species. In the three experiments, the basal area of the mixtures at the last assessment was significantly higher than predicted based on the performance of the pure stands (i.e. the mixture ‘overyielded’). In two of these cases, the mixture had had a higher basal area than found in the more productive pure stand indicating ‘transgressive overyielding’. Significant basal area differences were generally more evident at the later assessment date. The exception was in a Scots pine: western hemlock mixture where greater overyielding at the earlier date indicated a nursing (‘facilitation’) effect. In the remaining experiments, the performance of the mixture conformed to predictions from the growth of the component species in pure stands. Taken overall, the results suggest that functional traits can be used to interpret the performance of mixtures but prediction of the outcome will require better understanding of the interplay between species and site characteristics plus the influence of silvicultural interventions.
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Kim, NanHee. "A Study on the effects of Western Painting on Modern Japanese literature - Focused on "Nature and Life" and " Sketch of Chikuma River"." Center for Japanese Studies Chung-ang University 47 (November 30, 2017): 27–43. http://dx.doi.org/10.20404/jscau.2017.11.47.27.
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Proestaki, Xanthi. "Saint Sebastian: the martyr from Milan in post-Byzantine wall-paintings of the sixteenth and seventeenth centuries and the influences from Western painting." Byzantine and Modern Greek Studies 34, no. 1 (March 2010): 81–96. http://dx.doi.org/10.1179/030701310x12572436087136.
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Petruzzellis, Luca, Antonia Rosa Gurrieri, Alberto Pezzi, and Marco Lenoci Lenoci. "Strategic Alliances between Japanese-Western Companies: A Win-Win or Win-Lose Relationship? The Case of the Automobile Industry." International Journal of Business and Management 11, no. 11 (October 26, 2016): 1. http://dx.doi.org/10.5539/ijbm.v11n11p1.
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<p>Inter-firm cooperative arrangements involving flows and linkages that use resources and/or governance structures from autonomous firms based in different countries help in accomplishing both the individual objectives and the collective ones. Through collaboration with foreign partners, firms are able to exploit new market opportunities, minimise investment risks, set up more efficient and effective distribution channels or create products, product features, brands or services and, above all, absorb key capabilities and technologies from the partner. Literature on strategic alliances raised the issue on an alleged appropriation of benefits by Japanese firms when participating in strategic alliances. Japanese companies have experienced higher shareholders’ returns in strategic alliances with Western partners, both in the short term and in the medium one. The choice of Japanese and Western companies calls for a deeper understanding of the drivers of the alliances and the determinants of value creation without misleading influences deriving from different business environments.</p>This paper analyzes the wealth distribution taking into account the reaction of the market to the alliance as an indicator of a successful strategy. It explores the case of the automobile industry, which is characterised by a high use of inter-firm cooperation, such as strategic alliances and mergers & acquisitions, to effectively compete in the global market and face the global crisis.
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Parkes, Aneta. "Lean Management Genesis." Management 19, no. 2 (December 1, 2015): 106–21. http://dx.doi.org/10.1515/manment-2015-0017.
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Summary Lean Management is a philosophy and management concept, based on reduction of the waste and resources used in the process of producing goods and providing services. Lean Management genesis dates back to scientific management in America (for example concepts of H. Ford and F.W. Taylor) and quality management, including development of TQM concept. Japanese Toyota Production System has been inspired by chosen elements of these concepts, and then it evolved towards global concept called Toyota Way (which connects production rules with values and work attitude). TPS is considered to be a major precursor of lean manufacturing and now more widely – Lean Management. LM is a broader set of organisational and management tools, formed mainly by the Japanese culture, but also subjected to the Western influences in the field of organisation and management (Jakonis 2011, Parkes 2014).
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Adal, Raja. "Aesthetics and the End of the Mimetic Moment: The Introduction of Art Education in Modern Japanese and Egyptian Schools." Comparative Studies in Society and History 58, no. 4 (September 27, 2016): 982–1003. http://dx.doi.org/10.1017/s0010417516000505.
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AbstractLike most modern institutions in nineteenth-century non-Western states, modern school systems in 1870s Japan and Egypt were initially mimetic of the West. Modeled on the British South Kensington method and on its French equivalent, drawing education in Japanese and Egyptian schools was taught not as an art but as a functional technique that prepared children for modern professions like industrial design. By the beginning of the twentieth century, the South Kensington method of drawing education had lost its popularity in Europe, but more than a decade before its decline Japanese and Egyptian educators began teaching children genres of drawing that did not exist in European schools. In 1888 drawing education in Japan saw the replacement of the pencil with the brush, which was recast from the standard instrument of writing and painting of early modern East Asia to an instrument that came to represent Japanese art. In 1894 drawing education in Egypt saw the introduction of “Arabesque designs” as the Egyptian national art. This transformation of drawing education from a functional method that undergirded industrial capitalism into an art that inscribed national difference marked the end of the mimetic moment. On one hand, a national art served to make the nation into an autonomous subject that could claim a national culture in what was becoming a world of cultural nations. On the other, a national art helped to make the nation into an aesthetically seductive core whose magnetic appeal could bring together the national community.
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Cheong, Jonghyo. "Art in Busan, creation during the Japanese colonial period and coordinated development at the time of the city of refugees - Mainly on western painting." Korea Association Of Cultural Economics 23, no. 1 (April 30, 2020): 121–46. http://dx.doi.org/10.36234/kace.2020.23.1.121.
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Mishchenko, Iryna. "Gennady Gorbaty's painting: crypto-realism as overcoming imitation of reality." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 176–80. http://dx.doi.org/10.32461/2226-0285.1.2021.238616.
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The purpose of this article: analysis of Gennady Gorbaty's painting, in the work of which the transition from a realistic reflection of the world to the art of postmodernism, characteristic of Ukrainian art of the late 20th century, was reflected in a peculiar way. The methodology is the application of art analysis, methods of comparison and generalization, biographical and historical approach. The scientific novelty lies in the discovery of the peculiarities of the transformation of the traditional for Soviet art reflection of reality into visual practices of the late 20th – early 21st centuries on the example of the work of a particular artist. Conclusions. Gennady Gorbaty studied at the Kyiv State Art Institute (1981–1987), so his formation was significantly influenced by the traditional school of painting with a mostly realistic reproduction of the world around it and a purely academic hierarchy of genres. The socio-political situation in Ukraine in the late 1980s and early 1990s not only contributed to the liberation from such a view of art, but also intensified attention to the development of both contemporary world art and modernist manifestations that existed in the culture of the first half of the 20th century. At the same time, many artists became interested in the history of Ukraine, especially in its tragic or dramatic pages, which led to the emergence of numerous compositions with a complex system of symbols and associations, elements borrowed from the paintings of past eras. In the work of Gennady Gorbaty can be consistently traced a variety of influences, which demonstrate his search for his own plastic language, the gradual departure from the conditionally realistic art of the Soviet era and the formation of a peculiar manner of performance. This was facilitated by an acquaintance with Western European art of the late 20th century, as the artist has been working in Germany since the early 1990s. It was one of the German art critics G. Beck who defined the stylistics of G. Gorbaty's works as crypto-realism, in which the emotional beginning, reflected in the color scheme and expression of picturesque textures, is combined with supposedly hidden motives of visible reality. In the works of this author, the blurring of genres, the synthesis in one picture of elements of different artistic epochs – from the Middle Ages to postmodernism – is also noticeable.
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Jones, Robin. "Marrow of the Nation: A History of Sport and Culture in Republican China. By Andrew D.Morris. [Berkeley and Los Angeles: University of California Press, 2004. xx+368 pp. ISBN 0-520-24084-7.]." China Quarterly 182 (June 2005): 447–49. http://dx.doi.org/10.1017/s0305741005310265.
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Over the last decade, there has been a growing media interest in the rise to world prominence of Chinese sport, fuelled first by the startling performances of China's athletes in the mid- 1990s, then by their declared interest in staging the 2000 Olympic Games, and ultimately their successful bid for the 2008 Games. As if to underline this, China leapt into second place in the medals tally of the Athens Olympic Games in 2004, thus ensuring that the media took full note of the Middle Kingdom. However, in the corresponding period (and in fact much further back) there has been little serious interest amongst Western authors writing specifically about sport in China. Indeed, of the four hundred or so references in Marrow of the Nation, just a handful are by Western authors.In finely honed detail, Andrew Morris traces the development of sport in Republican China from the early years of the 20th century, drawing a carefully argued distinction between the Anglo-American and the Euro-Japanese influences that had a major effect in shaping China's early sporting identity (although the separation of the two influences, associating Anglo with American and Euro with Japanese, glosses over the importance of European figures in British sporting history). What is striking in unravelling the threads of Chinese history, is the manner in which China “swayed with the winds of foreign influence” as the leaders tried to develop a national and modern sporting consciousness. As chapter two reveals, by the 1920s, there were also clear traces of Soviet influence – fitness and hygiene, new nationalism, new Chinese man, new meanings for sport.
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Cwiertka, Katarzyna J. "Eating the World: Restaurant Culture in Early Twentieth Century Japan." European Journal of East Asian Studies 2, no. 1 (March 24, 2003): 89–116. http://dx.doi.org/10.1163/15700615-00201005.
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In this paper, I examine the rise of Western-style and Chinese-style dining in early twentieth century Japan, and the role multicultural eating played in the process of turning Japan into a modern, mass society. I argue that the new dining facilities not only played an important role in the mass entertainment of the urban population, but also that they facilitated the rise of a completely new consciousness among Japanese people, connecting them to a world beyond. Food serves here as a medium for identifying the agency of China and the West in the process of Japan’s self-definition. The popularity of Western and Chinese cuisine in interwar Japan denotes the cultural implications of imperialism in East Asia. The eagerness with which the Japanese masses engaged in ‘eating the West’ and ‘eating Asia’ suggests an ambiguity in the position of Japan at the time—a coloniser with a consciousness that had been colonised by the West. ‘Ethnic’ cuisines, unfamiliar foodways, exotic ingredients, ‘fusion’ cooking, multi-cultural culinary influences and more, are all now familiar elements on the contemporary (industrialised) social scene. Indeed, the final decade of the twentieth century seems to have witnessed curiosity on a mass-scale about unfamiliar eating that represents a striking interest in unaccustomed tastes, recipes and cuisines.
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Itakura, Hikaru, Yoichi Miyake, Ryoshiro Wakiya, and Shingo Kimura. "Environmental influences on late-summer individual Japanese eel diel activity and space utilization patterns in a shallow western Japan brackish lake." Fisheries Science 88, no. 1 (October 25, 2021): 29–43. http://dx.doi.org/10.1007/s12562-021-01560-3.
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Irina Pelea, Crînguța. "Exploring the Iconicity of Godzilla in Popular Culture. A Comparative Intercultural Perspective: Japan-America." Postmodernism Problems 10, no. 1 (April 2, 2020): 18–40. http://dx.doi.org/10.46324/pmp2001018.
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The present study aims to compare the representation of Godzilla or Gojira, considered one of the most representative cultural icons of Japanese cinematography within the intertwinement of the fluid, versatile and dynamic context of contemporary Japanese and North American film industry. The undying popularity of Godzilla is puzzling, and one can ask himself where the appeal of this irradiated dinosaur-like fictional monster lies in. The author adopts a comparative intercultural perspective, one that integrates research into a much broader sociohistorical context, with particular attention to how the culturally enhanced linguistic component influences the symbolism incorporated by Godzilla in Japan and how it is reimagined in its Hollywood counterpart.Hence, the theoretical section brings into discussion relevant and previously unpublished Japanese-language literature on Godzilla, thus trying to balance both Western and Japanese perspectives academically. The present research applies the methodology of narrative analysis to investigate from a comparative perspective significant differences existing in the narrative development and portrayal of the iconic monster in “Shin Godzilla” (Japan, 2016) versus “Godzilla: King of the Monsters” (the USA, 2019). One of the most relevant findings refers to the impossibility of ultimately transferring or translating the cultural specificity of the iconic beast within the North American media context, despite recycling almost the same film narrative: therefore, Gojira is inherently Japanese.
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Hermawan, Daniel. "You are Victim: The Depiction of Enemies in Japanese Super Hero Series." IZUMI 10, no. 1 (April 26, 2021): 84–91. http://dx.doi.org/10.14710/izumi.10.1.84-91.
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The depiction of Super-Villain in Japanese Super Hero series usually showing the western country as the main villain. The result of World War II primarily influences this. Nevertheless, recently there have been several Super Hero Series that depicted the minorities as the main villain. The purpose of this study is to present the issue of minorities in the Japanese Super Hero Series. Through the cultural study approach, this paper will discuss how minorities being represented by the antagonist character, Roimudde. This study had two aims (i) how does the Roimudde representing the minorities in Japanese society. (ii) how the characters Heart and Medic represent that minorities were victims of society. We found that the Roimudde was a different race from humans representing the minorities through content analysis of the Children television series Kamen Rider Drive. At the same time, Heart and Medic have painful memories that made them grudge toward humanity. It is also mean that this film was recognizing the minorities as the victim of prejudice by society. It is necessary to throw all prejudice to other people just because of physical or race differences to enter transnational society without prejudice.
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Hudson, Mark J., Ilona R. Bausch, Martine Robbeets, Tao Li, J. Alyssa White, and Linda Gilaizeau. "Bronze Age Globalisation and Eurasian Impacts on Later Jōmon Social Change." Journal of World Prehistory 34, no. 2 (June 2021): 121–58. http://dx.doi.org/10.1007/s10963-021-09156-6.
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AbstractFrom northern China, millet agriculture spread to Korea and the Maritime Russian Far East by 3500–2700 BC. While the expansion of agricultural societies across the Sea of Japan did not occur until around 900 BC, the intervening period saw major transformations in the Japanese archipelago. The cultural florescence of Middle Jōmon central Honshu underwent a collapse and reorganisation into more decentralised settlements. Mobility increased as Late Jōmon influences spread from eastern into western Japan, and populations expanded to offshore islands such as Okinawa and the Kurils. In Kyushu and other parts of western Japan, the eastern Jōmon expansion was associated with the cultivation of adzuki and soybeans but, contrary to earlier assessments, there is no evidence for the introduction of cereal crops at this time. Here, we analyse archaeological and historical linguistic evidence of connections between the Eurasian mainland and the Japanese Islands c. 3500 to 900 BC. A re-evaluation of archaeological material discussed since the 1920s concludes that the transformations in Jōmon society during this period were at least in part a response to contacts with Eurasian Bronze Age cultures. Evidence for linguistic contact between Koreanic and the Ainuic languages which are presumed to have been spoken by Jōmon populations is also consistent with new Bronze Age mobilities. Although prehistoric Japan was one of the most isolated regions of Eurasia, we conclude that the historical evolution of societies in the Japanese archipelago after the third millennium BC was linked with processes of Bronze Age globalisation.
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Demeulenaere-Douyère, Christiane. "Japan at the World’s Fairs: A Reflection." Journal of Japonisme 5, no. 2 (September 7, 2020): 129–51. http://dx.doi.org/10.1163/24054992-00052p01.
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Abstract The primary purpose of world’s fairs was commercial and industrial, focused on the celebration of technical and material progress. At the same time, they were places of immaterial exchanges between exhibitors and visitors, all of whom contributed a diversity of customs and cultures. As major exhibitions developed in Europe (1850–1900), Japan was opening to Western influences after a centuries-old period of self-isolation. The advent of the Meiji era marked the decision to transform feudal Japan into a modern capitalist state; in order to find economic partners, Japan became a regular presence at the world’s fairs. Openness gave way to confluence: European visitors discovered a living, rich image of Japan, complete with its traditions and arts. The revelation, to a wider audience, of Japanese art was at the origin of an artistic movement – Japonisme – which would have a lasting influence on European artists. Japan’s regular contributions to world’s fairs, especially those in Paris (1867, 1878, 1889, and 1900), enjoyed great popular success and shaped the European understanding of, and taste for, Japanese arts and culture.
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Tao, Cai. "Guan Liang, Tan Huamu, and Ding Yanyong: Their Modern Art Practice and the Phenomenon of the “Tōyō Review”." China and Asia 2, no. 1 (June 24, 2020): 3–56. http://dx.doi.org/10.1163/2589465x-00201002.
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During the late Taishō period, three Guangdong-born Chinese artists, Guan Liang 關良 (1900–1986), Tan Huamu 譚華牧 (1896–1976), and Ding Yanyong 丁衍庸 (1902–1978), were studying in Tokyo, Japan. After their return to China, they engaged daily in a kind of cross-media practice in oil and ink paintings that serves to remind us of the need to rethink the cultural experiment that China’s modern art movements have undertaken since the 1920s, and which has thus far been overlooked. In the face of the sudden rise of attention towards literati paintings in the Japanese art world, and in the midst of the Western modern art currents that were centered in Paris, these Japan-trained artists, with their comparative cultural perspectives, began to re-examine their own cultural tradition and form a cross-media creative model with an intrinsic cultural reflectiveness and innovative outlook. Moreover, the phenomenon of the “Tōyō review” 東洋回顧 that emerged from the intense interactions between the cultures of East and West not only brought about the concept of “Chinese painting,” but also led to the rise of the notion of the “superiority of Chinese art.”
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Shi, Xiaoyuan. "Impact of the Views in Alberti’s On Painting to the Status of Artists in the Early Renaissance and Subsequent Artist Schools in the Humanism Context." BCP Social Sciences & Humanities 18 (June 30, 2022): 400–409. http://dx.doi.org/10.54691/bcpssh.v18i.1138.
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Renaissance, the most prosperous era of art creation in the European country, encourages thousands of masters in different fields such as paintings, architecture, sculptures, philosophy, and politics to establish their own theories in their respective fields, which greatly promotes the development of western civilization. As the complete “Renaissance man”, Leon Alberti wrote his monograph On Painting to illustrate the principle of “true beauty” in different conditions. Most researchers and scholars choose to analyze Alberti by his views on the application of architecture, less on painting. However, in this paper, the author is going to analyze the painting principle, select and arrange some important points in his monograph On Painting into answers to several questions or topics in the chapter one below, dividing them into several levels and points, and analyze his influence and impact towards the later centuries, which is a gap and also innovative in the research field in Alberti’s art theory. The significance and purpose of this paper are that, only after knowing Alberti’s own art theory and its influences on the later art field, we could understand this important part of aesthetic developments and history, which is vital in defining “academy style” in arts. As a scholar who researches the classic history and art values himself, Alberti analyzes art history and theory in the past and proposed theories and art directing guidelines related to the classical art values of complete balance and beauty, which also responds to the Renaissance humanism movement. What’s more, his important art genre concept “historia” is about history (historical painting), and his theory and book itself influenced and brings a lot of differences to the art field in later centuries, which is the history changed in art styles and school the author research on. Moreover, illustrating the detailed analysis of Botticelli’s The Calumny of Apelles and Raphael’s School of Athens, this paper should be included in the category of art history and Renaissance history analysis. This paper is divided into two parts, including the literature review of the book On painting and the ideas proposed about art theory, artists’ social status, and stated principles of art. Also, Alberti’s ideas and concepts such as the most important one “historia” brings deep influence to the later art field, including the changing cultural focal point, increasing the status of artists, especially painters, restating the classical function of arts, and directing people to focus on great work instead of the genre scene. In these two parts, the author illustrates both Raphael’s School of Athens and Botticelli’s The Calumny of Apelles as examples in some parts of the analysis, in order to present a clear and detailed picture of the concrete theory. In the third part of chapter two, the author concludes from the reason and inner logic of the revolution and innovation in the art field Alberti brought and promoted, on the revival of the classical art values but also focuses on the humanism ideals, and use the conclusion to analyze the modern-day art situation we are in, and whether there is a turning point in the future art field nowadays.
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Lluveras-Tenorio, Anna, Alessia Andreotti, Fabio Talarico, Stefano Legnaioli, Luca M. Olivieri, Maria Perla Colombini, Ilaria Bonaduce, and Simona Pannuzi. "An Insight into Gandharan Art: Materials and Techniques of Polychrome Decoration." Heritage 5, no. 1 (March 2, 2022): 488–508. http://dx.doi.org/10.3390/heritage5010028.
Full textAbstract:
Gandharan art developed in the Himalayan area in the early centuries CE. It has been investigated mostly from an iconographic point of view, missing, until very recently, a systematic technical investigation of materials and techniques. Recently our team began performing chemical analyses of the traces of the polychromy originally covering statues, reliefs and architectural decorations, to discover the ancient painting techniques and artistic technologies. This paper presents the results of the analytical investigation (optical microscopy, Raman spectroscopy and gas chromatography coupled with mass spectrometry) of pigments, ground layers and binders of a new group of samples taken from stucco architectural decorations (2nd–3rd/4th centuries CE). The samples were collected directly at an archaeological site in the Swat Valley, ensuring the exact knowledge of their stratigraphic provenance, as well as the absence of any restoration treatment applied prior sampling. The results are discussed in the wider context of Gandharan polychromy investigated so far by our team, as found in sculptures and architectural decorations preserved in museums (in Italy and France) and in archaeological excavations in Pakistan. The aim of this research is to shed light on the materials and techniques of this Buddhist ancient art from this region and on the influences exerted on it from Eastern and Western artistic traditions.
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Olson, Tom. "The development of the Japanese nursing profession: Adopting and adapting western influences (RoutledgeCurzon Studies in the Modern History of Asia, London and New York)." Nursing Inquiry 13, no. 4 (December 2006): 308–9. http://dx.doi.org/10.1111/j.1440-1800.2006.00336.x.
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