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List of References List of References Abe Nobuya 阿部展也. “ポール・クレ ー 雑 記 [Pōru Kurē duction].” In 書と絵画との熱き時代・1945～1969 [Sho zakki; Various Thoughts about Paul Klee].” Mizue to kaiga to no atsuki jidai 1945–1969; Hot Times for Cal- 520 (March 1949), 21–22. ligraphy and Painting 1945–1969], 6–13. Tokyo: Shina- Abe, Stanley K. “To Avoid the Inscrutable: Abstract Expres- gawa bunka shinkō jigyōdan O bijutsukan, 1992. sionism and the ‘Oriental Mode.’” In Discrepant American Abstract Artists, ed. The World of Abstract Art. Abstraction, edited by Kobena Mercer, 52–74. Institute London: Tivanti, 1957. of International Visual Arts and The MIT Press, 2006. Amselle, Jean-Loup. “Primitivism and Postcolonialism in Adal, Raja. “Japan’s Bifurcated Modernity: Writing and the Arts.” Translated by Noal Mellott and Julie van Calligraphy in Japanese Public Schools, 1872–1943.” Dam. MLN: Comparative Literature vol. 118, no. 4 (Sep- Theory, Culture & Society 26, no. 2–3 (March 2009), tember 2003), 978–979. 233–247. Arita Kōhō 有田光甫. “書の空間をめぐって [Sho no kūkan Adamson, Natalie. Painting, Politics and the Struggle for the wo megutte; Considering the Issue of Space in Calligra- École de Paris, 1944–1964. Farnham, England; Burling- phy].” Bokubi no. 21 (February 1953), 37. ton, VT: Ashgate, 2009. Ascari, Maurizio. Literature of the Global Age: A Critical Addiss, Stephen. “Japanese Calligraphy since 1868.” In Study of Transcultural Narratives. Jeff erson, NC, and Since Meiji: Perspectives on the Japanese Visual Arts, 1868– London: McFarland & Co., 2011. 2000, edited by J. Thomas Rimer, 445–471. Honolulu: Ashiya City Museum of Art, ed. ゲンビ New Era for Crea- University of Hawai’i Press, 2012. tions: 現代美術懇談会の軌跡1952–1957 [Genbi New Era Addiss, Stephen. The Art of Zen: Paintings and Calligraphy of Creations: Gendai bijutsu kondankai no kiseki 1952– by Japanese Monks 1600–1925. New York: Harry N. 1957; Genbi New Era of Creations: Traces of Contem- Abrams, 1989. porary Art Discussion Group (Genbi) 1952–1957]. Alechinsky, Pierre, dir. Calligraphie Japonaise, 1956, CINE- Ashiya: Ashiya shiritsu bijutsu hakubutsukan, 2013. MATEK – Royal Belgian Film Archive. In “Art & Bai Dunren 白敦仁. 陳與義集校箋 [Chen Yuyi ji jiaojian; Cinema (Belgian Art Documentaries)” 2013, edited by Ammendations and Annotations to the Collected Steven Jacobs. Works of Chen Yuyi]. Shanghai: Shanghai guji chu- Alechinsky, Pierre. “Calligraphie Japonaise.” Quadrum no. 1 banshe, 1990. (1956), 43–53. Barkan, Elazar, and Donald Bush, eds. Prehistories of the Alechinsky, Pierre. “Japanese Calligraphy and Abstraction.” Future: The Primitivist Project and the Culture of Modern- Graphis no. 12 (January–December 1956), 542–555. ism. Stanford, CA: Stanford University Press, 1995. Alechinsky, Pierre. “日本の書道 [Nihon no shodō; Japanese Berthier, François. Reading ZEN in the Rocks, translated by Calligraphy].” Geijutsu Shinchō 6, no. 12 (December Graham Parkes. Chicago and London: University of 1955), 170–173. Chicago Press, 2000. Althöfer, Heinz, ed. Informel—Begegnung und Wandel Bogdanova-Kummer, Eugenia. “Contested Comparisons: [Informel—Encounter and Transition], Schriftenreihe Franz Kline and Japanese Calligraphy.” In Focus: des Museums am Ostwall [Publication Series of the Meryon 1960–1 by Franz Kline, edited by AnnMarie Museum am Ostwall], 2. Dortmund: Museum am Ost- Perl, Tate Research Publication, 2017. Accessed August wall, 2002. 12, 2019. https://www.tate.org.uk/research/publications/ Amano Kazuo 天野一夫. 書のモダニズム・言 説 と 作 品 in-focus/meryon/japanese-calligraphy. [Sho no modanizumu: gensetsu to sakuhin; Calligraphy’s Bogdanova-Kummer, Eugenia. “Tatami and Wood: Ink Modernism: Discourses and Art Works]. In 復刻版「書 Rubbings and the Discussion of Materiality in Postwar の美」別冊 [Fukkokuban “Sho no Bi” Bessatsu; Reprint Japanese Calligraphy and Art.” World Art vol. 6, issue 2 of the “Sho no Bi” Journal: Addendum], 40–81. Tokyo: (July 2016), 269–291. Kokusho kankōkai, 2013. Bokujinkai. Homepage. Accessed January 20, 2019. https:// Amano Kazuo 天野一夫, ed. 書の美, 復刻版 [Sho no Bi, bokujinkai.jimdo.com. fukkokuban; Sho no bi; Beauty of Calligraphy, reprinted Bourneuf, Annie. Paul Klee: The Visible and the Legible. Chi- edition]. Tokyo: Kokushokan kōkan, 2013. cago and London: University of Chicago Press, 2015. Amano Kazuo 天野一夫. 「書と絵画との熱き時代」“ 展・序 Brecher, W. Puck. The Aesthetics of Strangeness: Eccentricity 説 [“Sho to kaiga to no atsuki jidai” Ten—jōsetsu; Exhibi- and Madness in Early Modern Japan. Honolulu: Univer- tion “Hot Times for Calligraphy and Painting”—Intro- sity of Hawai’i Press, 2013. 166 Brown, Kendall H. “Out of the Dark Valley: Japanese Eguchi Sōgen 江口草玄. “自己紹介の頁 [Jikoshōkai no pēji; Woodblock Prints and War, 1937–1945.” In Art and War Page of Self-Introduction].” Bokujin no. 15 (July 1953), 28. in Japan and Its Empire 1931–1960, edited by Asato Ikeda, Fineberg, Jonathan. The Innocent Eye – Children’s Art and Aya Louisa McDonald, Ming Tiampo, Japanese Visual the Modern Artist. Princeton: Princeton University Culture Series 5, 209–229. Leiden: Brill, 2013. Press, 1997. Brown, Shana J. “Modern Antiquarianism and Sino-Japa- Fogel, Joshua A. The Role of Japan in Modern Chinese Art, nese Rivalry.” In The Role of Japan in Modern Chinese New Perspectives on Chinese Culture and Society 3. Art, edited by Joshua A. Fogel, New Perspectives on Berkeley: Global, Area, and International Archive and Chinese Culture and Society 3, 69–84. Berkeley, Los University of California Press, 2012. Angeles, London: Global, Area, and International Fox, Douglas A. The Heart of Buddhist Wisdom: A Transla- Archive/University of California Press, 2012. tion of the Heart Sutra with Historical Introduction and Brown, Shana Julia. Pastimes: From Art and Antiquarianism Commentary, Studies in Asian Thought and Religion. to Modern Chinese Historiography. Honolulu: University Lampeter: The Edwin Mellen Press, 1985. of Hawai’i Press, 2011. “Furansu no ishoku gaka rainichi—Tōkyō de koten o hiraku Buckland, Rosina. Painting Nature for the Nation. Taki Katei Mathieu shi [仏の異色画家来日―東京で個展開くマチ and the Transformation of Sinophile Culture in Meiji ウ氏; French Eccentric Artist Arrives in Japan: Mathieu Japan. Leiden: Brill, 2012. Opens His Solo Exhibition in Tokyo].” Yomiuri Shim- Bundo, Keichi. “Important Items for Calligraphy in the Ele- bun, August 30, 1957, morning edition, 7. mentary School,” n.d. [March–April 1949]. Hoover Germer, Andrea. “Visible cultures, invisible politics: propa- Institution on War, Revolution and Peace Stanford, ganda in the magazine Nippon Fujin, 1942–1945.” Japan California. Joseph C. Trainor Papers, box 24. Forum 25, no. 4 (December 2013), 505–539. Bynner, Witter, trans. 300 Tang Poems, electronic collection Gibson, Ann. “Avant-Garde.” In Critical Terms for Art His- in repository of University of Virginia Alderman Library tory, Second Edition, 202–217. Chicago and London: Humanities Centre. Accessed October 18, 2018. http:// University of Chicago Press, 2003. www.shigeku.org/xlib/lingshidao/hanshi/tang.htm. Goldstein, Kurt. “Concerning the Concept of ‘Primitivity’.” Cardinal, Roger. “Primitivism.” Grove Art Online, Oxford In Primitive Views of the World, 1. New York and London: Art Online. Accessed May 6, 2013. http://www.oxford- Columbia University Press, 1964. artonline.com.ubproxy.ub.uni-heidelberg.de/sub- Goldwater, Robert. Primitivism in Modern Art. New York: scriber/article/grove/art/T069588. Vintage Books, 1967. Chamizo-Domí nguez, Pedro. Semantics and Pragmatics of Gottlieb, Nanette. “Language and Politics: The Reversal of False Friends. London: Routledge, 2008. Postwar Script Reform Policy in Japan.” The Journal of Chin, Tsung, and Wendan Li, eds. East Asian Calligraphy Edu- Asian Studies 53, no. 4 (November 1994), 1175–1198. cation. Bethesda: University Press of Maryland, 2004. Gould, Stephen Jay. Ontogeny and Phylogeny. Cambridge, Clarke, David J. The Infl uence of Oriental Thought on Post- MA: Harvard University Press, 1977. war American Painting and Sculpture, Outstanding The- Graham, A.C. The Book of Lieh-Tzu. London: John Murray, ses in the Fine Arts from British Universities. PhD 1960. Diss., Courtauld Institute, 1988 and New York and Grand, P. M. “La calligraphie au Japon.” Le Monde, May 4, London: Courtauld Institute, 1988. 1956. Online archive. Accessed October 5, 2018. http:// Cliff ord, James. The Predicament of Culture: Twentieth- www.lemonde.fr/archives/article/1956/05/04/la-callig- Century Ethnography, Literature, and Art. Cambridge, raphie-au-japon_2253888_1819218. MA and London: Harvard University Press, 1994. html?xtmc=calligraphie_japonaise&xtcr=2. Cohen, Joshua. “Fauve Masks: Rethinking Modern ‘Primi- Greenberg, Clement. “‘American-Type’ Painting (1955, tivist’ Uses of African and Oceanic Art, 1905–8.” The 1958).” In Art and Culture Critical Essays, edited by Art Bulletin 99, no. 2 (June 2017), 136–165. Clement Greenberg, 208–229. Boston: Beacon Press, Dadi, Iftikhar. “Rethinking Calligraphic Modernism.” In 1965. Discrepant Abstraction, edited by Kobena Mercer, Guilbaut, Serge, ed. Reconstructing Modernism: Art in New 94–114. London: Institute of International Visual Arts; York, Paris and Montreal 1945–1964. Cambridge, MA: and Cambridge, MA: MIT Press, 2006. MIT Press, 1995. Devree, Howard. “About Art and Artists: Modern Museum Guilbaut, Serge. “Postwar Painting Games: The Rough and Shows Spencer Paintings and Japanese Abstract the Slick.” In Reconstructing Modernism: Art in New Calligraphy.” New York Times, June 23, 1954, 18. York, Paris and Montreal 1945–1964, edited by Serge Egawa Kazuhiko 江川和彦. “ハーバート・リードのポール・ Guilbaut, 32–33. Cambridge, MA: MIT Press, 1995. クレ ー 論 [Hābāto Rīdo no Pōru Kurē ron; Herbert Read’s Hasegawa Saburō 長谷川三郎, and Inui Yoshiaki 乾由明, Theory of Paul Klee].” Mizue 520 (March 1949), 23–26. ed. 長谷川三郎ー画・論 [Hasegawa Saburō: Ga Ron; 167.
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