Japanese Design: Aesthetics and Visual Culture
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Art Projects in Japan a Society That Co-Creates with Art
An Overview of Art Projects in Japan A Society That Co-Creates with Art Written by Sumiko Kumakura and The Art Project Research Group Translated by Art Translators Collective Table of Contents Introduction 2 What are Art Projects?: History and Relationship to Local Areas 3 by Sumiko Kumakura and Yūichirō Nagatsu What are “Art Projects”? The Prehistory of Art Projects Regional Art Projects Column 1 An Overview of Large-Scale Art Festivals in Japan Case Studies from Japan’s Art Projects: Their History and Present State, 1990-2012 13 by The Art Project Research Group 1 Universities and Art Projects: Hands-On Learning and Hubs for Local Communities 2 Alternative Spaces and Art Projects: New Developments in Realizing Sustainable Support Systems 3 Museums and Art Projects: Community Projects Initiated by Museums 4 Urban Renewal and Art Projects: Building Social Capital 5 Art Project Staff: The Different Faces of Local Participants 6 Art Projects and Society: Social Inclusion and Art 7 Companies and Art Projects: Why Companies Support Art Projects 8 Artists and Art Projects: The Good and Bad of Large-Scale Art Festivals Held in Depopulated Regions 9 Trends After the 3.11 Earthquake: Art Projects Confronting Affected Areas of the Tōhoku Region Thinking about the Aesthetic and Social Value of Art Projects 28 by Sumiko Kumakura Departure from a Normative Definition of the Artwork Trends and Cultural Background of Art Project Research in Japan Local People as Evaluators of Art Projects Column 2 Case Studies of Co-Creative Projects 1: Jun Kitazawa’s -
The Japanese New Religion Oomoto
UNIVERSITÉ DU QUÉBEC À MONTRÉAL THE JAPANESE NEW RELIGION OOMOTO: RECONCILIATION OF NATNIST AND INTERNATIONALIST TRENDS THE SIS SUBMITTED AS PARTIAL REQUIREMENT FOR THE MASTERS OF ARTS IN RELIGIOUS STUDIES JOEL AMIS APRIL 2015 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006) . Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire , diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l 'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. " UNIVERSITÉ DU QUÉBEC À MONTRÉAL LA NOUVELLE RELIGION JAPONAISE OOMOTO: RÉCONCILIATION DES COURANTS NATIVISTES ET INTERNATIONALISTES MÉMOIRE PRÉSENTÉE COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN SCIENCES DES RELIGIONS JOEL AMIS AVRIL 2015 ACKNOWLEDGMENTS First of all, I would like to thank the Oomoto organization rn general and the International Department ofüomoto in particular for graciously hosting us in Kameoka and other Oomoto centers and for all their eff01is to facilitate my research. -
Japanese Aesthetics and Gustav Klimt: in Pursuit of a New Voice Svitlana Shiells
Strand 2. Art Nouveau and Politics in the Dawn of Globalisation Japanese Aesthetics and Gustav Klimt: In Pursuit of a New Voice Svitlana Shiells Abstract At the end of the nineteenth century, Japonisme—an artistic lingua franca—became one of the most organic, overarching components of Gustav Klimt’s new art. This paper draws parallels between Gustav Klimt’s Portrait of Sonja Knips and It ō Jakuch ū’s print Golden Pheasant and Bamboo in Snow . The discovery of an unexpectedly close dialogue between Klimt and Jakuch ū and the striking similarity of the formal language of the two works supports the paper’s thesis that It ō Jakuch ū’s print is the primary source of influence behind the conception and execution of the portrait and, by extension, that Klimt’s engagement with Japanese stimuli is one of the main engines behind his creative pursuit, starting at the end of the 1890s. This discovery challenges preconceived notions and existing concepts and illustrates the impossibility of understanding Klimt’s heritage comprehensively and adequately without examining the role of Japonisme in it. Keywords: Gustav Klimt, Japonisme, It ō Jakuch ū, the Vienna Secession, ukiyo-e prints. 1 In the wake of the World Fair of 1873 in Vienna, a strong wave of Japonisme permanently re- shaped the capital of the Austro-Hungarian Empire. According to Hermann Bahr, the Viennese encountered the presence of “Japonisme in all the arts,” which were “impossible to understand without bearing in mind the influence of Japanese art.” 1 Japonisme indeed became a Zeitgeist in fin de siècle Vienna and, in the visual arts, Gustav Klimt was its main advocate. -
Japanese Aesthetics and the Tale of Genji Liya Li Department of English SUNY/Rockland Community College [email protected] T
Japanese Aesthetics and The Tale of Genji Liya Li Department of English SUNY/Rockland Community College [email protected] Table of Contents 1. Themes and Uses 2. Instructor’s Introduction 3. Student Readings 4. Discussion Questions 5. Sample Writing Assignments 6. Further Reading and Resources 1. Themes and Uses Using an excerpt from the chapter “The Sacred Tree,” this unit offers a guide to a close examination of Japanese aesthetics in The Tale of Genji (ca.1010). This two-session lesson plan can be used in World Literature courses or any course that teaches components of Zen Buddhism or Japanese aesthetics (e.g. Introduction to Buddhism, the History of Buddhism, Philosophy, Japanese History, Asian Literature, or World Religion). Specifically, the lesson plan aims at helping students develop a deeper appreciation for both the novel and important concepts of Japanese aesthetics. Over the centuries since its composition, Genji has been read through the lenses of some of the following terms, which are explored in this unit: • miyabi (“courtly elegance”; refers to the aristocracy’s privileging of a refined aesthetic sensibility and an indirectness of expression) • mono no aware (the “poignant beauty of things;” describes a cultivated sensitivity to the ineluctable transience of the world) • wabi-sabi (wabi can be translated as “rustic beauty” and sabi as “desolate beauty;” the qualities usually associated with wabi and sabi are austerity, imperfection, and a palpable sense of the passage of time. • yûgen (an emotion, a sentiment, or a mood so subtle and profoundly elegant that it is beyond what words can describe) For further explanation of these concepts, see the unit “Buddhism and Japanese Aesthetics” (forthcoming on the ExEAS website.) 2. -
Japanese Design Aesthetics and Visual Culture
Semester: Spring 2020 Japanese Design Aesthetics and Visual Culture Section 1 Instructor/Title Dr. Seonga Kim-Lee / Assistant Professor Office/Building Room 712, Main Building (Nakamiya Campus) 【Course Outline / Description】 This course aims at understanding Japanese aesthetics, culture, and society through the twentieth-century design. Students will examine broad range of design examples in terms of reflective of the social, political, and economic culture of the time. The course will begin by exploring Japanese aesthetics and prewar design and continues by discussing contemporary design with regard to the emergence of design, made in Japan, pop culture, and disaster and design. Students need to be familiarized with Japanese terms related to aesthetics and culture at the beginning of this course in order to understand how religion and philosophy are reflected in Japanese art and design. Through lectures, discussions, presentations, and field trips, students will understand how traditional Japanese aesthetics reflected on contemporary design and how individual Japanese designers uniquely delivered traditional aesthetics to international style. Section 2 【Course Objectives/Goals/Learning Outcomes】 At the end of this course students will be able to: - Take design as a key tool for understanding Japanese aesthetics, culture, and history. - Perceive a brief history of Japanese design in the twentieth century and demonstrate specific issues affected Japanese design. - Clarify the difference between Japanese and western aesthetics in design. - Demonstrate how traditional Japanese culture reflected in the contemporary design. Section 3 【Class Schedule/Class Environment, Literature and Materials】 Unit 1: Aesthetics and Culture Lecture 1: DNA of Japanese Design 日本貿易振興機構, 「日本デザインの遺伝子展」の記録 DNA of Japanese Design, (日本貿易振興 機構 2006), 18, 20. -
Japanese Business Concepts You Should Know
1 Japanese Business Concepts You Should Know Edited by Parissa Haghirian Sophia University Tokyo, Japan 2 Contents About this Book ......................................................................................... 4 The Editor ................................................................................................ 5 Japanese Business Concepts You Should Know ................................................. 6 Contributors of This Book ............................................................................ 94 Bibliography ............................................................................................ 96 Further Reading on Japanese Management .................................................... 102 3 About this Book This book is the result of one of my “Management in Japan” classes held at the Faculty of Liberal Arts at Sophia University in Tokyo. Students wrote this dictionary entries, I edited and updated them. The document is now available as a free e-book at my homepage www.haghirian.com. We hope that this book improves understanding of Japanese management and serves as inspiration for anyone interested in the subject. Questions and comments can be sent to [email protected]. Please inform the editor if you plan to quote parts of the book. Japanese Business Concepts You Should Know Edited by Parissa Haghirian First edition, Tokyo, October 2019 4 The Editor Parissa Haghirian is Professor of International Management at Sophia University in Tokyo. She lives and works in Japan since 2004 -
Japanese Spatial Culture, Nature and Architecture
PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword by Kengo KUMA Edited by Salvator-John A. LIOTTA and Matteo BELFIORE PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword: Kengo KUMA Editors: Salvator-John A. LIOTTA Matteo BELFIORE Graphic edition by: Ilze PakloNE Rafael A. Balboa Foreword 4 Kengo Kuma Background 6 Salvator-John A. Liotta and Matteo Belfiore Patterns, Japanese Spatial Culture, Nature, and Generative Design 8 Salvator-John A. Liotta Spatial Layering in Japan 52 Matteo Belfiore Thinking Japanese Pattern Eccentricities 98 Rafael Balboa and Ilze Paklone Evolution of Geometrical Pattern 106 Ling Zhang Development of Japanese Traditional Pattern Under the Influence of Chinese Culture 112 Yao Chen Patterns in Japanese Vernacular Architecture: Envelope Layers and Ecosystem Integration 118 Catarina Vitorino Distant Distances 126 Bojan Milan Končarević European and Japanese Space: A Different Perception Through Artists’ Eyes 134 Federico Scaroni Pervious and Phenomenal Opacity: Boundary Techniques and Intermediating Patterns as Design Strategies 140 Robert Baum Integrated Interspaces: An Urban Interpretation of the Concept of Oku 146 Cristiano Lippa Craft Mediated Designs: Explorations in Modernity and Bamboo 152 Kaon Ko Doing Patterns as Initiators of Design, Layering as Codifier of Space 160 Ko Nakamura and Mikako Koike On Pattern and Digital Fabrication 168 Yusuke Obuchi Foreword Kengo Kuma When I learned that Salvator-John A. Liotta and Matteo Belfiore in my laboratory had launched a study on patterns and layering, I had a premonition of something new and unseen in preexisting research on Japan. Conventional research on Japan has been initiated out of deep affection for Japanese architecture and thus prone to wetness and sentimentality, distanced from the universal and lacking in potential breadth of architectural theories. -
From the Japanese Traditional Edo Culture to Anime and Manga Takuji
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kwansei Gakuin University Repository 1 Kwansei Gakuin University Social Sciences Review Vol.19, 2014 Nishinomiya, Japan Roots of Cool Japan: From the Japanese Traditional Edo Culture to Anime and Manga Takuji OKUNO Japan’s transition from making things to making tales Japanese popular culture, known as “Cool Japan,” includes animations, comics, video games, figures, and J-pops that are highly acclaimed in Europe and the United States as well as throughout Asia. From the 1970s to the 1980s, Japan gained confidence in its ability to “make things” because consumers around the world embraced its manufactured products such as electric home appliances and automobiles with open arms in preference to the products of other advanced countries. However, at the beginning of the Heisei era, the bubble in the Japanese economy suddenly burst and Japan’s gross national product (GNP) plummeted, resulting in what is termed “the burst of economic bubble of 1990.” Relatively cheaper manufactured products from other Asian countries gained precedence over Japanese products. In response, many Japanese manufacturers moved their production plants to other Asian countries, particularly settling in mainland China, where labor costs were lower than in Japan. The recession was protracted and the Japanese people suffered from a sense low confidence in their abilities to overcome the recession. By the late 1990s, Prime Ministers Mori and, subsequently, Koizumi responded to Japanese political leader Heizo Takenaka’s advocacy of an information technology (IT) revolution in Japan as a way to beat the recession. -
Art and Aesthetics Article
Art And Aesthetics Article Marve is nonpathogenic: she scaring sullenly and collaborating her mavens. Unworking Andie melodized huffincautiously her Jugoslavia. or disentrances actinally when Vassily is scummy. Sherwynd is mobbish: she approves brassily and Handles are metabolic, and modifications of article and art aesthetics were evaluated They invariably involve emotionalizing situations must find out if aesthetics plays a wide range from their needs to articles, one might break at? Greek philosophers have replies that constitute a strong differences, and was unknown, which whitehead or event? Aesthetic Value SpringerLink. Imitation also occurs in situations that system not necessarily beneficial to the larger society, even repugnant, as always certain types of firm behavior. However tension between aesthetics and ethics as depicted by specify two films. The mine and Aesthetics of StandUp Comedy Philosophical Perspectives Pages 391-564 Fall 2020 View possible of. The Aesthetic Relations of noon to Reality by Nicholas G. Paper essay on hindu new bright in hindi involve an experience art Essay. Aesthetics Applies to Sports as Well as taken the Arts Digital. Nancy Fried, Harriet Sanderson, Rebecca Horn, Judith Scott, and Laura Splan, all from whom created art that he found compelling and who represented various manifestations of disability identity. AESTHETICS AND FINE ARTS News The Harvard Crimson. The nature and artists who practice looking at any pupils or preference for distinguishing valid from another account has also a highly unpredictable image. Housen derived the developmental stage theory that informs all VTS methods and curricula. Art and Aesthetics after Adorno eScholarshiporg. Compare visual components are important and articles on a group responses; prehistoric art compositions, which promoted exhilarated its continued implied by no. -
How to Look at Japanese Art I
HOWTO LOOKAT lAPANESE ART STEPHEN ADDISS with Audrey Yos hi ko Seo lu mgBf 1 mi 1 Aim [ t ^ ' . .. J ' " " n* HOW TO LOOK AT JAPANESE ART I Stephen Addi'ss H with a chapter on gardens by H Audrey Yoshiko Seo Harry N. Abrams, Inc., Publishers ALLSTON BRANCH LIBRARY , To Joseph Seuhert Moore Library of Congress Cataloging-in-Publication Data Addiss, Stephen, 1935- How to look at Japanese art / Stephen Addiss with a chapter on Carnes gardens by Audrey Yoshiko Seo. Lee p. cm. “Ceramics, sculpture and traditional Buddhist art, secular and Zen painting, calligraphy, woodblock prints, gardens.” Includes bibliographical references. ISBN 0-8109-2640-7 (pbk.) 1. Art, Japanese. I. Seo, Audrey Yoshiko. II. Title N7350.A375 1996 709' .52— dc20 95-21879 Front cover: Suzuki Harunobu (1725-1770), Girl Viewing Plum Blossoms at Night (see hgure 50) Back cover, from left to right, above: Ko-kutani Platter, 17th cen- tury (see hgure 7); Otagaki Rengetsu (1791-1875), Sencha Teapot (see hgure 46); Fudo Myoo, c. 839 (see hgure 18). Below: Ryo-gin- tei (Dragon Song Garden), Kyoto, 1964 (see hgure 63). Back- ground: Page of calligraphy from the Ishiyama-gire early 12th century (see hgure 38) On the title page: Ando Hiroshige (1797-1858), Yokkaichi (see hgure 55) Text copyright © 1996 Stephen Addiss Gardens text copyright © 1996 Audrey Yoshiko Seo Illustrations copyright © 1996 Harry N. Abrams, Inc. Published in 1996 by Harry N. Abrams, Incorporated, New York All rights reserv'ed. No part of the contents of this book may be reproduced without the written permission of the publisher Printed and bound in Japan CONTENTS Acknowledgments 6 Introduction 7 Outline of Japanese Historical Periods 12 Pronunciation Guide 13 1. -
A Repeated Story of the Tragedy of the Commons a Short Survey on the Pacific Bluefin Tuna Fisheries and Farming in Japan
A Repeated Story of the Tragedy of the Commons A Short Survey on the Pacific Bluefin Tuna Fisheries and Farming in Japan YASUHIRO SANADA A Repeated Story of the Tragedy of the Commons A Short Survey on the Pacific Bluefin Tuna Fisheries and Farming in Japan YASUHIRO SANADA Organization for Regional and Inter-regional Studies, Waseda University Contents Introduction 1 List of Abbreviations 4 PART 1: PBF Fisheries in Japan 7 PART 2: Fish Farming in Japan 53 Conclusion 89 Annexes 91 Acknowledgements This study was funded by the Pew Charitable Trusts based on a research agreement between Waseda University and the Pew Charitable Trust on “Research and Analysis on Fisheries Issues in Japan.” We gratefully acknowledge generous support from the Pew Charitable Trust. Introduction On November 17, 2014, the news that the International Union for the Conservation of Nature (IUCN) added the Pacific Bluefin tuna (PBF) to its Red List of Threatened Species as “Vulnerable,” which meant that it was threatened with extinction, made headlines and received substantial TV coverage around Japan. After citing the IUCN’s comment that the species was extensively targeted by the fishing industry for the predominant sushi and sashimi markets in Asia, Mainichi Shimbun, one of the major newspapers in Japan, reported that the population was estimated to have declined by 19 to 33% over the past 22 years1. Nihon Keizai Shimbun, a leading Japanese economic newspaper, referring to the fact that the American eel was also added to the List as “Endangered,” pointed out that -
Keichū, Motoori Norinaga, and Kokugaku in Early Modern Japan
UNIVERSITY OF CALIFORNIA Los Angeles The Jeweled Broom and the Dust of the World: Keichū, Motoori Norinaga, and Kokugaku in Early Modern Japan A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Emi Joanne Foulk 2016 © Copyright by Emi Joanne Foulk 2016 ABSTRACT OF THE DISSERTATION The Jeweled Broom and the Dust of the World: Keichū, Motoori Norinaga, and Kokugaku in Early Modern Japan by Emi Joanne Foulk Doctor of Philosophy in History University of California, Los Angeles, 2016 Professor Herman Ooms, Chair This dissertation seeks to reconsider the eighteenth-century kokugaku scholar Motoori Norinaga’s (1730-1801) conceptions of language, and in doing so also reformulate the manner in which we understand early modern kokugaku and its role in Japanese history. Previous studies have interpreted kokugaku as a linguistically constituted communitarian movement that paved the way for the makings of Japanese national identity. My analysis demonstrates, however, that Norinaga¾by far the most well-known kokugaku thinker¾was more interested in pulling a fundamental ontology out from language than tying a politics of identity into it: grammatical codes, prosodic rhythms, and sounds and their attendant sensations were taken not as tools for interpersonal communication but as themselves visible and/or audible threads in the fabric of the cosmos. Norinaga’s work was thus undergirded by a positive understanding ii of language as ontologically grounded within the cosmos, a framework he borrowed implicitly from the seventeenth-century Shingon monk Keichū (1640-1701) and esoteric Buddhist (mikkyō) theories of language. Through philological investigation into ancient texts, both Norinaga and Keichū believed, the profane dust that clouded (sacred, cosmic) truth could be swept away, as if by a jeweled broom.