Japanese Vocabulary and Terms
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Tenth-Century Painting Before Song Taizong's Reign
Tenth-Century Painting before Song Taizong’s Reign: A Macrohistorical View Jonathan Hay 1 285 TENT H CENT URY CHINA AND BEYOND 2 longue durée artistic 3 Formats 286 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN Tangchao minghua lu 4 5 It 6 287 TENT H CENT URY CHINA AND BEYOND 7 The Handscroll Lady Guoguo on a Spring Outing Ladies Preparing Newly Woven Silk Pasturing Horses Palace Ban- quet Lofty Scholars Female Transcendents in the Lang Gar- 288 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN den Nymph of the Luo River8 9 10 Oxen 11 Examining Books 12 13 Along the River at First Snow 14 15 Waiting for the Ferry 16 The Hanging Scroll 17 18 19 289 TENT H CENT URY CHINA AND BEYOND Sparrows and Flowers of the Four Seasons Spring MountainsAutumn Mountains 20 The Feng and Shan 21 tuzhou 22 23 24 25 26 27 28 290 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 29 30 31 32 Blue Magpie and Thorny Shrubs Xiaoyi Stealing the Lanting Scroll 33 291 TENT H CENT URY CHINA AND BEYOND 34 35 36 Screens 37 38 The Lofty Scholar Liang Boluan 39 Autumn Mountains at Dusk 292 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 40Layered Mountains and Dense Forests41 Reading the Stele by Pitted Rocks 42 It has Court Ladies Pinning Flowers in Their Hair 43 44 The Emperor Minghuang’s Journey to Shu River Boats and a Riverside Mansion 45 46 47tuzhang 48 Villagers Celebrating the Dragonboat Festival 49 Travelers in Snow-Covered Mountains and 50 . -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Univerzita Karlova V Praze Filozofická Fakulta
Univerzita Karlova v Praze Filozofická fakulta Ústav Dálného východu Bakalářská práce Kateřina Danišová Vztah umění a vytváření japonské národní identity v moderním období The Relation of Art and Japanese National Identity in the Modern Era Praha, 2011 vedoucí práce: Mgr. David Labus, Ph.D. Poděkování Tímto bych chtěla poděkovat Mgr. Davidu Labusovi, Ph.D., za vedení práce, užitečné rady a připomínky. Prohlašuji, že jsem bakalářskou práci vypracovala samostatně, že jsem řádně citovala všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného nebo stejného titulu. V Praze dne 9.7.2011 podpis Anotace Bakalářská práce se zaměřuje na představení nových západních uměleckých technik, které se v Japonsku rozšířily během období Meidži, dále na způsob jejich interakce s tradičními žánry a formami. Soustřeďuje se na role jedinců, zejména Ernesta Fenollosy a Okakury Tenšina, spolků a institucí při vytváření vědomí národní identity a také na roli, kterou kultura zastala ve vznikající moderní ideologii. Annotation This bachelor dissertation concentrates on the introduction of the new artistic techniques, which spread out in Japan during the Meiji period, and on their interaction with the traditional genres and forms. It examines the role of individuals, particularly Ernest Fenollosa and Okakura Tenshin, societies and institutions in the process of creating a national identity. It also deals with the part of the culture in the developing of a modern ideology. Klíčová slova Japonsko, japonské umění, umění v období Meidži, národní identita, interakce tradičního a moderního umění, moderní japonské umění, Okakura, Fenollosa, Conder, jóga, nihonga. Keywords Japan, japanese art, Meiji period art, national identity, traditional and modern art interaction, japanese modern art, Okakura, Fenollosa, Conder, jōga, nihonga. -
Issue Print Test | Nonsite.Org
ISSUE #13: THE LATIN AMERICAN ISSUE 13 nonsite.org is an online, open access, peer-reviewed quarterly journal of scholarship in the arts and humanities affiliated with Emory College of Arts and Sciences. 2015 all rights reserved. ISSN 2164-1668 EDITORIAL BOARD Bridget Alsdorf Ruth Leys James Welling Jennifer Ashton Walter Benn Michaels Todd Cronan Charles Palermo Lisa Chinn, editorial assistant Rachael DeLue Robert Pippin Michael Fried Adolph Reed, Jr. Oren Izenberg Victoria H.F. Scott Brian Kane Kenneth Warren FOR AUTHORS ARTICLES: SUBMISSION PROCEDURE Please direct all Letters to the Editors, Comments on Articles and Posts, Questions about Submissions to [email protected]. Potential contributors should send submissions electronically via nonsite.submishmash.com/Submit. Applicants for the B-Side Modernism/Danowski Library Fellowship should consult the full proposal guidelines before submitting their applications directly to the nonsite.org submission manager. Please include a title page with the author’s name, title and current affiliation, plus an up-to-date e-mail address to which edited text and correspondence will be sent. Please also provide an abstract of 100-150 words and up to five keywords or tags for searching online (preferably not words already used in the title). Please do not submit a manuscript that is under consideration elsewhere. ARTICLES: MANUSCRIPT FORMAT Accepted essays should be submitted as Microsoft Word documents (either .doc or .rtf), although .pdf documents are acceptable for initial submissions.. Double-space manuscripts throughout; include page numbers and one-inch margins. All notes should be formatted as endnotes. Style and format should be consistent with The Chicago Manual of Style, 15th ed. -
Representations of Pleasure and Worship in Sankei Mandara Talia J
Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). -
CUNY in Nanjing
China Program Description, p. 1 of 5 CUNY-BC Study in China: Program Description & Itinerary Tentative Program Dates: May 30-June 20, 2016 Application Deadline: March 21, 2016 Program Director: Professor Shuming Lu Department of Speech Communication Arts & Sciences Brooklyn College, the City University of New York Telephone: 718-951-5225 E-mail: [email protected] This program is designed in such a way that all travel is education-related. The cities we have chosen to visit are all sites of great historical and cultural importance. 1. Beijing is the current capital of China and used to be the capital of several late Chinese dynasties. Many sites in Beijing (e.g., Tiananmen Square, Palace Museum, Forbidden City, the Great Wall, Summer Palace, the Olympic Stadium) are directly related to what we are teaching in our courses on Chinese history, culture, society, and Chinese business & economy. 2. Xi’an was where Chinese dynasties started several thousand years ago and many subsequent emperors established their capitals. It is also the eastern starting point of the ancient overland Silk Road. Sites that strongly support the academic content of our courses are the Terra Cotta Museum, Qin Shihuangdi Emperor’s Mausoleum, Wild Good Pagoda Buddhist Temple & Square, Xuanzang Buddhist Statue, Silk Road Sites, Tang Dynasty Art Museum, Muslim Quarter, and the Great Mosque. 3. Nanjing was the capital of six ancient Chinese dynasties and the capital of the first Republic of China—a place of great significance in modern Chinese history. Ming Dynasty first established its capital here and then moved the capital to Beijing. -
Japonisme in Britain - a Source of Inspiration: J
Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). -
Illustration and the Visual Imagination in Modern Japanese Literature By
Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work. -
Meisho Zue and the Mapping of Prosperity in Late Tokugawa Japan
Meisho Zue and the Mapping of Prosperity in Late Tokugawa Japan Robert Goree, Wellesley College Abstract The cartographic history of Japan is remarkable for the sophistication, variety, and ingenuity of its maps. It is also remarkable for its many modes of spatial representation, which might not immediately seem cartographic but could very well be thought of as such. To understand the alterity of these cartographic modes and write Japanese map history for what it is, rather than what it is not, scholars need to be equipped with capacious definitions of maps not limited by modern Eurocentric expectations. This article explores such classificatory flexibility through an analysis of the mapping function of meisho zue, popular multivolume geographic encyclopedias published in Japan during the eighteenth and nineteenth centuries. The article’s central contention is that the illustrations in meisho zue function as pictorial maps, both as individual compositions and in the aggregate. The main example offered is Miyako meisho zue (1780), which is shown to function like a map on account of its instrumental pictorial representation of landscape, virtual wayfinding capacity, spatial layout as a book, and biased selection of sites that contribute to a vision of prosperity. This last claim about site selection exposes the depiction of meisho as a means by which the editors of meisho zue recorded a version of cultural geography that normalized this vision of prosperity. Keywords: Japan, cartography, Akisato Ritō, meisho zue, illustrated book, map, prosperity Entertaining exhibitions arrayed on the dry bed of the Kamo River distracted throngs of people seeking relief from the summer heat in Tokugawa-era Kyoto.1 By the time Osaka-based ukiyo-e artist Takehara Shunchōsai (fl. -
Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Laura Nuffer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, and the Medieval Studies Commons Recommended Citation Nuffer, Laura, "Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan" (2014). Publicly Accessible Penn Dissertations. 1389. https://repository.upenn.edu/edissertations/1389 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1389 For more information, please contact [email protected]. Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Abstract Interspecies marriage (irui kon'in) has long been a central theme in Japanese literature and folklore. Frequently dismissed as fairytales, stories of interspecies marriage illuminate contemporaneous conceptions of the animal-human boundary and the anxieties surrounding it. This dissertation contributes to the emerging field of animal studies yb examining otogizoshi (Muromachi/early Edo illustrated narrative fiction) concerning elationshipsr between human women and male mice. The earliest of these is Nezumi no soshi ("The Tale of the Mouse"), a fifteenth century ko-e ("small scroll") attributed to court painter Tosa Mitsunobu. Nezumi no soshi was followed roughly a century later by a group of tales collectively named after their protagonist, the mouse Gon no Kami. Unlike Nezumi no soshi, which focuses on the grief of the woman who has unwittingly married a mouse, the Gon no Kami tales contain pronounced comic elements and devote attention to the mouse-groom's perspective. -
Sokkuram: Buddhist Monument and Political Statement in Korea Author(S): Mark Harrell Source: World Archaeology, Vol. 27, No. 2, Buddhist Archaeology (Oct., 1995), Pp
Sokkuram: Buddhist Monument and Political Statement in Korea Author(s): Mark Harrell Source: World Archaeology, Vol. 27, No. 2, Buddhist Archaeology (Oct., 1995), pp. 318-335 Published by: Taylor & Francis, Ltd. Stable URL: http://www.jstor.org/stable/125088 Accessed: 23/03/2009 22:01 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=taylorfrancis. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Taylor & Francis, Ltd. is collaborating with JSTOR to digitize, preserve and extend access to World Archaeology. http://www.jstor.org Sokkuram: Buddhist mconument and political statement in Korea Mark Harrell Abstract A brief historical setting of Sokkuram in the context of Silla unification of Korea will be followed by a further brief cultural setting of this temple - considering it a product of both an international Buddhism and an 'international style'. -
Visual and Material Culture at Hōkyōji Imperial Convent: the Significance of “Women’S Art” in Early Modern Japan
Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Gregory P. A. Levine, Chair Professor Patricia Berger Professor H. Mack Horton Fall 2010 Copyright by Sharon Mitsuko Yamamoto 2010. All rights reserved. Abstract Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto Doctor of Philosophy in History of Art University of California, Berkeley Professor Gregory Levine, Chair This dissertation focuses on the visual and material culture of Hōkyōji Imperial Buddhist Convent (Hōkyōji ama monzeki jiin) during the Edo period (1600-1868). Situated in Kyoto and in operation since the mid-fourteenth century, Hōkyōji has been the home for women from the highest echelons of society—the nobility and military aristocracy—since its foundation. The objects associated with women in the rarefied position of princess-nun offer an invaluable look into the role of visual and material culture in the lives of elite women in early modern Japan. Art associated with nuns reflects aristocratic upbringing, religious devotion, and individual expression. As such, it defies easy classification: court, convent, sacred, secular, elite, and female are shown to be inadequate labels to identify art associated with women. This study examines visual and material culture through the intersecting factors that inspired, affected, and defined the lives of princess-nuns, broadening the understanding of the significance of art associated with women in Japanese art history.