DOCSLIB.ORG

Referenties Van De Japanse Cultuur in Het Frans Impressionisme Geïllustreerd Aan De Hand Van De Vrouwelijke Beeldvorming in De Schilderkunst

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Referenties Van De Japanse Cultuur in Het Frans Impressionisme Geïllustreerd Aan De Hand Van De Vrouwelijke Beeldvorming in De Schilderkunst Academiejaar 2008-2009 REFERENTIES VAN DE JAPANSE CULTUUR IN HET FRANS IMPRESSIONISME GEÏLLUSTREERD AAN DE HAND VAN DE VROUWELIJKE BEELDVORMING IN DE SCHILDERKUNST. Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte, Vakgroep Kunst-, Muziek-, en Theaterwetenschappen tot het behalen van de graad van Master in de Kunstwetenschappen Promotor: Prof. Dr. C. VAN DAMME door Ellen Ryckx Woord vooraf Na vier jaar leerrijke jaren sluit ik mijn studie af met deze masterproef. Veel impressionistische werken brengen mij in een aangename sfeer. Deze creaties spreken voor mij al lange tijd tot de verbeelding. Daarbij kwam een grote belangstelling voor Japanse prenten en zodoende was mijn onderzoeksthema gevormd. De boeiende colleges doorheen mijn studiejaren verruimden niet alleen mijn kennis, ze hebben mede mijn kritische blik op de kunstwereld ontwikkeld. Mijn interesse voor kunst werd nog meer aangewakkerd. Mijn promotor Prof. Dr. Claire Van Damme en assistente Sarah Willems wil ik bedanken voor de begeleiding. Zij hielpen mij bij het afbakenen van mijn onderzoeksthema en het opbouwen van een overzichtelijke structuur. Dankbetuigen gaan ook uit naar mijn ouders, mijn zus en vrienden die mij heel wat steun aanboden. 2 Inhoudsopgave WOORD VOORAF ........................................................................................................ 2 INHOUDSOPGAVE ....................................................................................................... 3 1 INLEIDING ............................................................................................................. 5 1.1 VOORSTELLING VAN HET ONDERZOEKSTHEMA .................................................. 5 1.2 MOTIVATIE ........................................................................................................ 8 1.3 BRONNENONDERZOEK EN KRITISCHE BESPREKING ............................................. 9 1.4 STATUS QUAESTIONIS VAN HET ONDERZOEK ................................................... 12 DE DE 2 PARIJS GEDURENDE DE 2 HELFT VAN DE 19 EEUW ...................... 16 2.1 MAATSCHAPPELIJKE CONTEXT ........................................................................ 16 2.2 OP ZOEK NAAR EEN NIEUWE VORMGEVING IN DE BEELDENDE KUNST : HET IMPRESSIONISME .................................................................................................. 18 2.3 INFILTRATIE VAN DE JAPANSE KUNST EN CULTUUR IN PARIJS : OPKOMST JAPONISME ........................................................................................................... 21 2.3.1 Japan bereikt het Westen ........................................................................ 21 2.3.2 Japonisme: verklaring term .................................................................... 24 2.3.3 De impressionist in aanraking met de Japanse kunst en cultuur ........... 25 2.3.3.1 De japonisants .................................................................................... 26 2.3.3.2 De wereldtentoonstellingen te Parijs .................................................. 33 2.3.3.2.1 De wereldtentoonstelling van 1867 .............................................. 34 2.3.3.2.2 De wereldtentoonstelling van 1878 .............................................. 35 2.3.3.3 Le japon in het straatbeeld .................................................................. 37 3 DE JAPANSE PRENT ......................................................................................... 40 3.1 DE JAPANSE PRENT : UKIYO -E .......................................................................... 40 3.2 JAPANSE KUNSTENAARS ................................................................................... 44 3.2.1 Kitagawa Utamaro ................................................................................. 45 3.2.2 Katsushika Hokusai ................................................................................ 47 3.2.3 Ando Hiroshige ....................................................................................... 48 4 DE CULTUUR EN ARTISTIEKE METHODES VAN JAPAN IN HET OEUVRE VAN DE FRANSE IMPRESSIONISTEN ........................................ 50 4.1 INLEIDING ........................................................................................................ 50 4.2 DE VROUWELIJKE BEELDVORMING .................................................................. 53 4.2.1 De parisienne en de Japanse mode ......................................................... 54 4.2.1.1 De kimono ........................................................................................... 55 4.2.1.2 De waaier ............................................................................................ 57 4.2.1.3 De paraplu of parasol .......................................................................... 60 4.2.2 De woon- en werkomgeving van de vrouw ............................................. 63 4.2.2.1 Woonomgeving ................................................................................... 63 4.2.2.2 Werkomgeving .................................................................................... 72 4.2.3 De vrijetijdsbesteding van de parisienne geïllustreerd aan de hand van enkele Japanse artistieke methodes......................................................... 77 4.2.3.1 Het cutt-off principe ............................................................................ 77 4.2.3.2 Het silhouet ......................................................................................... 79 4.2.3.3 Andere Japanse artistieke methodes: de verticale indeling, een diagonale opbouw, bepaalde perspectieven en houdingen… ............. 81 3 5 BESLUIT ............................................................................................................... 90 6 LIJST VAN AFBEELDINGEN ........................................................................... 93 7 BIBLIOGRAFIE ................................................................................................. 105 4 1 Inleiding 1.1 Voorstelling van het onderzoeksthema Omstreeks het midden van de 19 de eeuw kwam Europa in contact met de Japanse kunst en cultuur. De infiltratie van de Japanse kunsten in Frankrijk heeft een onmiskenbaar gevolg gehad voor de gedachtegang in de artistieke wereld in Parijs. Het betoog zal aanvangen met een ruime schets van Parijs gedurende de tweede helft van de 19 de eeuw. De Japanse kunst en cultuur heeft een bijzondere invloed gehad op de beeldende kunstenaars wonende te Parijs in deze periode. Om de infiltratie van deze cultuur te begrijpen, is het noodzakelijk vooreerst de maatschappelijke situatie te Parijs te schetsen op zowel politiek, economisch en sociaal vlak. De verscheidene posities die een vrouw kan aannemen in de maatschappij en haar beleving in de grootstad worden aangehaald. Op artistiek vlak was er bij veel kunstenaars een noodzaak aan nieuwe inspiratiebronnen. Artiesten wilden zich afsplitsen van het academisme en zochten naar een nieuwe vormgeving. Hieruit resulteerde het impressionisme. Hierna wordt ruimschoots aandacht besteed aan de infiltratie van de Japanse kunst en cultuur in de stad Parijs. Vooreerst wordt een historische kader geschetst. Een erg lange tijd was Japan afgesloten van de buitenwereld. Vanaf 1858 sloot Japan handelsverdragen af met in eerste instantie Amerikanen, gevolgd door Europeanen. 1 Na ongeveer twee eeuwen van afsluiting gingen niet enkel de economische maar eveneens de culturele uitwisselingen van start. Verscheidene Japanse objecten bereikten het Westen en bleken van invloed te zijn op de westerse kunst- en leefwereld. Deze trend wordt ook wel japonisme genoemd. Het japonisme was op zijn hoogtepunt omstreeks 1880, doch reeds in de jaren ’60 van de 19 de eeuw circuleerden er Japanse kunstvoorwerpen te Parijs. Enkele vroeg beïnvloedde Europese kunstenaars worden kort aangehaald. Hoe ging deze infiltratie nu precies in zijn werk? Via welke kanalen? Welke figuren zijn hier van groot belang? En hoe kwamen de impressionisten in contact met oosterse kunstvoorwerpen? Op deze vragen wordt zo zorgvuldig mogelijk een antwoord geformuleerd. Verscheidene figuren en gebeurtenissen hebben in de tweede helft van de 19 de eeuw een rol gespeeld. In eerste instantie zijn er de japonisants , dit zijn figuren die 1 DAMBMANN G., Hoe Japan het Westen ontdekte: een geschiedenis in houtsneden , Maarssen, Schwatz, 1990, pp. 157-158 5 over een bijzondere passie beschikken en een bepaalde kennis hebben over de Japanse kunst en cultuur. Vaak zijn het ook verzamelaars van Japanse kunst. De japonisants zijn figuren zoals kunsthandelaars, schrijvers, kunstcritici, graveurs, kunsthistorici,… Zij hielden de materie hoog in aanzien en hadden contacten met heel wat kunstenaars waardoor ook laatstgenoemden gefascineerd raakten door de Japanse kunst- en leefwereld. Een volgend aspect zijn de wereldtentoonstellingen van 1867 en 1878 te Parijs. Hierbij was telkens, in 1867 voor de eerste maal in Parijs, een Japans paviljoen aanwezig. De Japanse traditie kwam op deze manier nauw in contact met de burgers van Parijs. Deze wereldtentoonstellingen hebben een groot aandeel gehad in het ontwikkelen van een Japanse vloedgolf over Parijs. De populariteit omtrent Japanse objecten steeg aanzienlijk. Vervolgens zal ik enkele reflecties van de Japanse cultuur in het straatbeeld van Parijs behandelen. Hierbij speelden de aanwezigheid van enkele plaatsen en gebeurtenissen een rol. Het Japanse sfeerbeeld werd geuit in winkels met oosterse objecten, galerieën, theehuizen en cafés. Tijdschriften inzake
Load more

Recommended publications
  • Editing Identity: Literary Anthologies and the Construction of the Author in Meiji Japan
    Editing Identity: Literary Anthologies and the Construction of the Author in Meiji Japan by Molly Catherine Des Jardin A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Asian Languages and Cultures) in The University of Michigan 2012 Doctoral Committee: Associate Professor Jonathan E. Zwicker, Chair Professor Margaret L. Hedstrom Associate Professor Christi Ann Merrill Professor Ken K. Ito, University of Hawai’i Table of Contents List of Figures iii Chapter I. Introduction 1 II. The Names of the Author 8 III. Literary Circles and Corporate Authorship 54 IV. Social Provenance and the Invention of Saikaku 95 V. In Memoriam 148 VI. Reproducing the Author 193 Bibliography 248 ii List of Figures Figure 1 Bungakkai 17 (May 1894) … 26 2 Kokumin no tomo 69 (January 1890) … 29 3 Kyōka and Kōyō … 48 4 “Shain meiji sho” … 61 5 “Bungakkai dai ichi-gō ga uketaru hihyō” … 77 6 “Kōshoku ichidai onna” … 99 7 Saikaku as illustrated in the inside front cover of Kōtei Saikaku zenshū … 128 8 Aikakuken … 132 9 Sakuhin 1(3) (May 1932) … 140 10 [Higuchi Ichiyō] … 178 11 Front cover of Bizan zenshū … 203 12 Front cover of Bizan zenshū … 204 13 Higuchi Ichiyō’s writing sample … 221 14 Kitamura Tōkoku’s writing sample … 222 15 [Higuchi Ichiyō] … 239 16 [Higuchi Ichiyō] … 240 17 [Kitamura Tōkoku] … 241 18 “Kōyō Sanjin in 1892” … 242 iii 19 Kawakami Akira … 243 20 “Bizan, 1889” … 244 iv Chapter I Introduction “Editing Identity: Literary Anthologies and The Construction of the Author in Meiji Japan” problematizes widespread acceptance of anthologies of authors' “complete works” as both transparent and authoritative compendia of Japanese literature.
    [Show full text]
  • A Review of the History of Japanese Mathematics
    Revue d’histoire des math´ematiques, 7 (2001), p. 137–155. A REVIEW OF THE HISTORY OF JAPANESE MATHEMATICS Tsukane OGAWA (*) ABSTRACT. — This review aims to introduce Japanese mathematics to a non- expert and a non-Japanese readership. It briefly characterizes mathematics in Japan, surveys its history, as it developed over the last century, and provides a large (if not exhaustive) bibliography of works in the primary European languages. RESUM´ E´.—APERC¸ U SUR L’HISTOIRE DES MATHEMATIQUES´ JAPONAISES. Le but de cette note est de pr´esenter les math´ematiques japonaises `a un public non sp´ecialis´e dans le domaine. Les math´ematiques au Japon sont bri`evement caract´eris´ees, leur histoire, telle qu’elle s’est d´evelopp´ee durant le dernier si`ecle, est pass´ee en revue et finalement une importante bibliographie dans les principales langues europ´eennes est propos´ee, mˆeme si elle ne peut pr´etendre `a l’exhaustivit´e. 1. INTRODUCTION – NOT ONLY SANGAKU The custom of hanging sangaku ( ), wooden plates on which are inscribed mathematical problems and their answers, under the roofs of shrines in the Edo period (1603–1867) in Japan is familiar enough to have been illustrated and described in Scientific American, May 1998 [Rothman 1998]. It is, however, obvious that sangaku is not all there is to Japanese mathematics. It would be fallacious to consider that the essence of Japanese mathematics reveals itself in sangaku. As a beginning, this essay attempts briefly to introduce Japanese mathematics to a non-Japanese readership. It will answer the following questions : 1) What kind of mathematical disciplines developed in Japan ? 2) How were mathematical expressions written in vertical typesetting ? 3) How did the Japanese calculate ? 4) Is it true that, lacking proofs, Japanese mathematics was not logical ? (*) Texte re¸cu le 7 mars 1999, r´evis´e le 11 novembre 2000.
    [Show full text]
  • 1867 As the Year of Constitutional Changes Around the World
    ELJ_2017-2__press 2018.12.12. 16:34 Page 39 Balázs Rigó* 1867 as the Year of Constitutional Changes Around the World I Introduction and Methodology The composite jubilee of the year 1867 provides the topic for this paper. We will see how 1867 influenced both international relationships and constitutional changes through the world. The apparent and evident parallelism between Canada and Hungary because of the jubilee of 1867 gave the hint to examine other events of constitutional history. The significant changes in the form of government or constitution of a country have a great impact on the neighbour - ing countries and politics. This phenomenon was the root of our examination; namely to analyse the corresponding events and the constitutional changes closely relating to the Canadian and Hungarian changes with an eye to other determining and / or neighbouring countries in the international relationship. Our objective is therefore to describe the process of the changes of 1867, or more precisely, the second half of the 1860’s, mostly in a descriptive way, since Hungarian and / or other foreign readers may not be so well-read on the history of the other side of the world, as they are on their own history. After that, our other incentive is to make a comparison of the detailed processes of the constitutional development of the examined countries, with an eye to the formation of the alliances of the First World War, as the end of the old world order started in 1867. The combination of these incentives, namely the description of the events and the internal developments, and placing of these developments into the external, foreign relationships basically determines which countries are to be analysed.
    [Show full text]
  • 36 the Historical Development of Ikebana Machiko
    !36 Malaysian Journal of Performing and Visual Arts, Volume 4, 2018 The Historical Development Of Ikebana Machiko Nakayama, Independent scholar Penang, Malaysia [email protected] © 2018 University of Malaya. This journal is licensed under the terms of the Creative Commons Attribution (CC BY-NC-ND) (https://creativecommons.org/licenses/by-nc- nd/4.0/) Received 08 August, 2018; Accepted 4 December, 2018; Published 31 December, 2018. Abstract This article is an attempt to focus on the origin of ikebana, tatehana (standing branch or flower) style and to examine the process of the historical development of ikebana. First, we pay attention to the fact that the treetop of a big tree is brought into the house and is put up in a flower vase and decorated in the tokonoma (wall niche) even today after having been cut in the rituals of the mountain divinity, then we will examine what kind of effect the belief in big trees had on the formalization of tatehana style, established in the Muromachi period (1338–1573). We will examine how the tatehana style was formalized, how the tatehana style developed into rikka (standing branch or flower) style, established in the early Edo period (17th century), how seika or shoka (standing branch or flower) style in the latter part of Edo period (18th century) evolved from rikka style through the historical development of ikebana. Finally, we will conclude that this is ikebana. Keyword: Ikebana, tatehana, the mountain divinity, the central branch, the central axis, the tokonoma space. 1. Definition of Ikebana Ikebana is a traditional Japanese cut-plant arrangement using branches, leaves, and flowers which are placed in containers or vases filled with water.
    [Show full text]
  • A New Role of Common Spaces for Environmental Conservation in Japan
    A New Role of Common Spaces for Environmental Conservation in Japan Takeshi Murota Abstract: The purpose of this paper is two folds. The first task is to clarify five major types of common spaces including water surfaces in the present day Japan. They are (1) iriai-gyojou (common fishery grounds), (2) iriai-rinya (common forests/grasslands), (3) uotsuki-rin (fish breeding forests), (4) tameike (irrigation ponds), and (5) ridou and suiro (non designated hamlet roads and water courses). The number of commons in Japan after the WWII has decreased. But that is not all. Many of them are alive in their own manners in many localities. The second task of the paper is to show that some commoners are very active for resource management toward environmental conservation in their own localities in spite of many socio-economic difficulties. The paper presents several cases of the common spaces which have been performing crucial roles of preventing environmental destruction in local communities. Some cases Cooperation between commoners and people outside of commons are also discussed. Key words: common fishery ground, common forest/grassland, fish breeding forest, non designated hamlet road, Japan, environmental conservation Introduction Japan is an island country. At the same time, it is mountainous. From such a geological and geographical nature, various types of common spaces have emerged and evolved in the sea, terrestrial land, and in between until today. While many commons disappeared in the process of industrialization, there still remain many common spaces of interesting characteristics. Since the time of turning point from the 20 th to the 21 st centuries, a new light has been shed on common spaces in Japan.
    [Show full text]
  • Experiencing World History
    EXPERIENCING WORLD HISTORY EXPERIENCING WORLD HISTORY • Paul V. Adams, Erick D. Langer, Lily Hwa, Peter N. Stearns, and Merry E. Wiesner-Hanks a NEW YORK UNIVERSITY PRESS new york and london NEW YORK UNIVERSITY PRESS New York and London © 2000 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Experiencing world history / Paul V. Adams . [et al.]. p. cm. Includes bibliographical references and index. ISBN 0-8147-0690-8 (alk. paper) — ISBN 0-8147-0691-6 (pbk. : alk. paper) 1. World history. I. Adams, Paul Vauthier. D20 .E975 2000 00-008518 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America 10987654321 CONTENTS Preface vii 1. Seeing World History as Human History 1 part i Human History from Origins through the Early Civilizations 21 Timeline 26 2. Human Population and Migration Patterns 28 3. Culture and Politics in Early Societies 49 4. Gender Structures: Introduction through Early Civilizations 66 5. Work and Leisure in the Preclassical Period 77 Epilogue 86 For Further Reading 89 part ii The Classical Period, 1000 b.c.e.–450 c.e. 91 Timeline 96 6. Populating the Earth 99 7. Culture and Politics in the Classical Period 117 8. Gender Structures in Classical Civilizations 141 9. Work and Leisure in the Classical World 155 Epilogue 170 For Further Reading 174 part iii The Postclassical Period, 450–1450 c.e. 177 Timeline 182 10. Populating the Earth, 500–1500 c.e. 185 11.
    [Show full text]
  • Frank Bauman, 2009 USDCHS Oral History
    FRANK A. BAUMAN November 21, 2005 Tape 1, Side 1 Portland, Oregon Foundational Years, 1921-1935 KS: This is Karen Saul speaking. I am a volunteer with the United States District Court Historical Society, and we are taking the oral history of Frank Anthony Bauman, Jr. This is November 21, 2005. We are in Mr. Bauman’s office at the Carriage House in Portland, Oregon, and this is the first tape and the first side. So, Mr. Bauman, would you begin by stating your full name, your date and place of birth? FB: Gladly, Miss Saul. Frank Anthony Bauman, Jr., and I was born in Portland, Oregon on June 10, 1921. KS: Mr. Bauman, I’d like to begin by having you tell me whatever you would like about your family history and your grandmother and grandfather. FB: Thank you. Let me begin with reference to my grandparents. I’ll take my paternal side first. My grandfather John Bauman, at that time spelt with two “Ns”, Baumann, was born in Berlin, Germany, and left Germany in approximately 1871 at the time of the Franco Prussian War. His reasons, I daresay, were twofold—one, political and two, as a young man he did not want to serve in a war to which he was not sympathetic. So he immigrated to America. Let me add that in 1977, I had the pleasure of being in Berlin for roughly one week when my son, Todd, was studying at the Free Berlin University, and I made an attempt to learn something about my grandfather through official records in Berlin.
    [Show full text]
  • East Asia Under Challenge, 1800–1914 the Tai Ping Rebellion at the Ways in Which They Are Similar
    Planning Guide Key to Ability Levels Key to Teaching Resources BL Below Level AL Above Level Print Material Transparency OL On Level ELL English Language Learners CD-ROM or DVD Levels Chapter Section Section Section Chapter BL OL AL ELL Resources Opener 1 2 3 Assess FOCUS BL OL AL ELL Daily Focus Skills Transparencies 15-1 15-2 15-3 TEACH BL OL ELL Reading Skills Activity, URB p. 131 OL AL Historical Analysis Skills Activity, URB p. 132 BL OL AL ELL Differentiated Instruction Activity, URB p. 133 OL ELL English Learner Activity, URB p. 135 BL OL AL ELL Content Vocabulary Activity, URB* p. 137 BL OL AL ELL Academic Vocabulary Activity, URB p. 139 BL OL AL ELL Skills Reinforcement Activity, URB p. 141 OL AL Critical Thinking Skills Activity, URB p. 142 OL AL History and Geography Activity, URB p. 143 OL AL ELL Mapping History Activity, URB p. 145 BL OL AL Historical Significance Activity, URB p. 146 BL OL AL ELL Cooperative Learning Activity, URB p. 147 OL AL ELL History Simulation Activity, URB p. 149 BL OL AL ELL Time Line Activity, URB p. 151 OL AL Linking Past and Present Activity, URB p. 152 BL OL AL People in World History Activity, URB p. 153 p. 154 BL OL AL ELL Primary Source Reading, URB p. 155 OL AL Enrichment Activity, URB p. 160 BL OL AL ELL World Art and Music Activity, URB p. 157 BL OL ELL Guided Reading Activities, URB* p. 162 p. 163 p. 164 BL OL ELL Reading Essentials and Note-Taking Guide* p.
    [Show full text]
  • Sound Worlds of Japanese Gardens an Interdisciplinary Approach to Spatial Thinking
    From: Michael D. Fowler Sound Worlds of Japanese Gardens An Interdisciplinary Approach to Spatial Thinking August 2014, 218 p., 29,99 €, ISBN 978-3-8376-2568-4 Michael D. Fowler presents an interdisciplinary approach to investigating the sound world of traditional Japanese gardens by drawing from the diverse fields of semiotics, acoustic ecology, philosophy, mathematical modelling, architecture, music, landscape theory and acoustic analysis. Using projects – ranging from data-visualisations, immersive sound installations, algorithmically generated meta-gardens and proto- architectural form finding missions – as creative paradigms, the book offers a new framework for artistic inquiry in which the sole objective is the generation of new knowledge through the act of spatial thinking. Michael D. Fowler is an alumni of the Alexander von Humboldt Foundation’s Fellow- ship program. For further information: www.transcript-verlag.de/978-3-8376-2568-4 © 2014 transcript Verlag, Bielefeld 2014-07-09 12-54-19 --- Projekt: transcript.anzeigen / Dokument: FAX ID 03c7371320137462|(S. 1 ) VOR2568.p 371320137470 Contents Foreword | 8 Acknowledgements | 11 JAPANESE GARDEN AESTHETICS | 13 The Garden as a Spatial Paradigm | 13 Early Chinese Models | 15 Influences of Zen | 20 Later Developments | 25 JOHN CAGE’S RYOANJI | 32 Cage’s Aesthetics | 32 Cage and the Garden at Ryōan-ji | 34 Further Thoughts | 43 FORMAL METHODOLOGIES FOR ANALYZING THE JAPANESE GARDEN | 47 Two Gardens as Test Cases | 47 Acoustic Ecology | 49 The Soundscape of Koishikawa Korakuen | 55
    [Show full text]
  • The Historical Development of Ikebana*
    Machiko Nakayama Independent scholar Invited Paper The Historical Development of Ikebana* Abstract This article is an attempt to focus on the origin of ikebana, tatehana (standing branch or flower) style and to examine the process of the historical development of ikebana. First, we pay attention to the fact that the treetop of a big tree is brought into the house and is put up in a flower vase and decorated in the tokonoma (wall niche) even today after having been cut in the rituals of the mountain divinity, then we will examine what kind of effect the belief in big trees had on the formalization of tatehana style, established in the Muromachi period (1338–1573). We will examine how the tatehana style was formalized, how the tatehana style developed into rikka (standing branch or flower) style, established in the early Edo period (17th century), how seika or shoka (standing branch or flower) style in the latter part of Edo period (18th century) evolved from rikka style through the historical development of ikebana. Finally, we will conclude that this is ikebana. Key words Ikebana, tatehana, the mountain divinity, the central branch, the central axis, the tokonoma space * This paper was first published in Malaysian Journal of Performing and Visual Arts Vol. 4, December 2018, 36-62 and republished in this journal with the author permission. Machiko Nakayama 1 มาจิโกะ นากายามะ นักวิชาการอิสระ บทความรับเชิญ พัฒนาการทางประวัติศาสตร์ของอิเคบานะ* บทคัดย่อ** บทความนี้มุ่งเน้นที่จะอธิบายต้นก�าเนิดของศิลปะอิเคบานะ รูปแบบทาเทบานะ (การปักกิ่งไม้หรือดอกไม้แนวตั้ง)
    [Show full text]
  • Japanese Proverbs in the Traditional Art Compared to Pieter Bruegel the Elder’S Netherlandish Proverbs (1559)
    Originalveröffentlichung in: 8° Colóquio interdisciplinar sobre provérbios, Tavira 2014, S. 43-59 JAPANESE PROVERBS IN THE TRADITIONAL ART COMPARED TO PIETER BRUEGEL THE ELDER’S NETHERLANDISH PROVERBS (1559) Yoko MORI, Professor Emerita, Meiji University, Japan Abstract People in the sixteenth century in Northern Europe had great passion for proverbs. After Erasmus’ Adagiorum Collectanea was published in 1500 in Paris, many intellectuals were eager to collect and edit proverb books in their own languages. Almost at the same time, proverbs were carved in misericords in churches, and Frans Hogenberg’s print, Die Blav Hvick (1559) inspired his contemporary print publishers to produce numerous adapted versions of his proverb print. During the Edo period (1600-1867) in Japan the folk had an increasing interest in proverbs, which resulted in the publication of illustrated proverb books as tools to educate the middle class. In the meantime various proverb playing cards with accompanying texts and images were printed to teach children how to read and write the alphabet and to let them enjoy the humorous images. Unlike in Europe, numerous proverbial and alphabetical visualizations were produced in Japan on all kinds of items in parallel with proverb books. It is clear that the Japanese folk considered visualized proverbs as both decorative and an amusing source of popular wisdom. This study points out that many old Flemish and Japanese proverbs are surprisingly similar when it comes to moral values, behavior and view of life, even though the phrasing of the proverbs may vary. However, there are also important differences Bruegel’s painting and other artists’ proverb prints instruct viewers on how to live honestly, guard against deceit, be wise and avoid foolish behavior.
    [Show full text]
  • Japanese Fathers in the United States: Negotiating Different Cultural Expectations
    Georgia State University ScholarWorks @ Georgia State University Sociology Theses Department of Sociology 1-12-2006 Japanese Fathers in the United States: Negotiating Different Cultural Expectations Yuka Abe Follow this and additional works at: https://scholarworks.gsu.edu/sociology_theses Part of the Sociology Commons Recommended Citation Abe, Yuka, "Japanese Fathers in the United States: Negotiating Different Cultural Expectations." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/sociology_theses/2 This Thesis is brought to you for free and open access by the Department of Sociology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Sociology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. JAPANESE FATHERS IN THE UNITED STATES: NEGOTIATING DIFFERENT CULTURAL EXPECTATIONS by YUKA ABE Under the Direction of Ralph LaRossa ABSTRACT Japanese fathers residing abroad have not been given much attention in Japanese scholarship. In this study, I examine how Japanese fathers in the United States negotiate between Japanese and American cultural expectations regarding fatherhood. Relying on a symbolic interactionist perspective, and through qualitative research involving in-depth interviews with 24 Japanese fathers who live in the United States for business, I focus on the men’s culture, conduct, and self-identification. My interviews suggest that Japanese fathers who temporarily stay in the United States usually adhere to Japanese culture and, accordingly, live up to Japanese expectations of fatherhood. Thus, paternal modifications influenced by expectations from close associates are due not to their embracing American fatherhood, but rather to their “situational adjustment.” Ultimately, this is a study of cognitive boundaries and of how people decide to internalize cultural expectations different than their own.
    [Show full text]