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Trabajo Fin De Máster Trabajo Fin de Máster EL GRABADO JAPONÉS EN LA COLECCIÓN DE EMILIO BUJALANCE: LA GUERRA SINO-JAPONESA (1894- 1895) THE JAPANESE PRINT IN EMILIO BUJALANCE´S COLLECTION: THE SINO-JAPANESE WAR (1894-1895) Autor Macarena Angulo Cabeza Director V. David Almazán Tomás Facultad de Filosofía y Letras 2017 ÍNDICE 1. RESUMEN ............................................................................................................................ 1 2. INTRODUCCIÓN ................................................................................................................ 2 2.1. Justificación del tema del trabajo .............................................................................. 2 2.2. Estado de la cuestión ................................................................................................... 3 2.3. Objetivos .................................................................................................................... 14 2.4. Metodología ............................................................................................................... 15 3. EL GRABADO JAPONÉS EN LA COLECCIÓN DE EMILIO BUJALANCE: LA GUERRA SINO-JAPONESA (1894-1895) ................................................................................ 16 3.1. Colección Bujalance .................................................................................................. 16 3.1.1. Datos biográficos del coleccionista Emilio Bujalance ........................................ 16 3.1.2. Colección Bujalance ............................................................................................ 17 3.1.3. Historia ................................................................................................................ 19 3.2. Conflictos bélicos en la era Meiji ............................................................................. 20 3.2.1. Contexto histórico ............................................................................................... 20 3.2.2. Primera Guerra Sino-Japonesa ............................................................................ 26 3.2.3. Guerra Ruso-Japonesa ......................................................................................... 36 3.3. Los conflictos bélicos en el arte de ukiyo-e: sensō-e................................................ 38 3.3.1. Los sensō-e desde la tradición del ukiyo-e ......................................................... 38 3.3.2. Coleccionistas y sus colecciones en Japón y en Occidente ................................. 39 3.3.3. Los editores del sensō-e ...................................................................................... 41 3.3.4. Estampas satíricas en la era Meiji ....................................................................... 46 3.4. El sens풐-e en la Colección de Emilio Bujalance...................................................... 47 3.4.1. Temas .................................................................................................................. 49 3.4.2. Autores ................................................................................................................ 50 3.4.3. Catalogación ........................................................................................................ 63 4. CONCLUSIONES ............................................................................................................ 106 5. BIBLIOGRAFÍA Y RECURSOS UTILIZADOS ............................................................ 110 5.1. Bibliografía general ................................................................................................. 110 5.2. Bibliografía específica ............................................................................................. 115 5.2.1. Artistas .............................................................................................................. 115 5.2.2. Exposiciones...................................................................................................... 116 5.2.3. Guerras .............................................................................................................. 119 5.3. Webgrafía ................................................................................................................. 129 1. RESUMEN La Guerra Sino-Japonesa (1894-1895) fue un conflicto militar entre la dinastía Qing de China y el Imperio de Japón, que tuvo lugar durante el desarrollo de la era Meiji, y cuyo propósito era conseguir el dominio de Corea. Este acontecimiento histórico tuvo mucha repercusión en el arte, tanto es así que se produjeron grandes cantidades de estampas de guerra (sensō-e) durante los últimos años del siglo XIX, y que fueron compradas ya en el siglo XX por coleccionistas de todo el mundo. El interés llega hasta la actualidad, como por ejemplo Emilio Bujalance, coleccionista español que ha ido adquiriendo a lo largo de los años estos ukiyo-e y junto a otros de temas muy variados, ha ido formando su propia colección. El objeto de estudio del trabajo de investigación ha sido la catalogación de las estampas que narran la Guerra Sino-Japonesa de la Colección Bujalance. The Sino-Japanese War (1894-1895) was a military conflict between Qing Empire of China and the Empire of Japan, that took place during the Meiji Era, and whose purpose was getting the control of Corea. This historical event had consequence in art, a lot of war prints (sensō-e) were made in the latest years of XIX century, and were bought during the XX century by collectors all over the world. At the moment the interest is present, for example Emilio Bujalance, a spanish collector who has gotten his own collection made with ukiyo-e of different topics. The object of the study of the investigation job has been the cataloging of the Sino-Japanese War prints in Bujalance´s collection. 1 2. INTRODUCCIÓN 2.1. Justificación del tema del trabajo El tema elegido es el estudio de los grabados japoneses, ukiyo-e, de la Colección Bujalance. El término ukiyo apareció en el Japón medieval aludiendo al mundo transitorio, efímero y pasajero. Este término, hacía referencia a una cultura propia de la clase social inferior, al servicio de los samuráis que tenían un gran poderío económico. A partir del siglo XVII este término se entendió como “mundo flotante”. Esta cultura tuvo una forma específica de expresarse a través del arte, creando el ukiyo-e. Se formó una escuela que supo captar los temas cotidianos, populares, divertidos y placenteros, mediante un sistema de reproducción múltiple, que es el grabado en madera o la xilografía. Las estampas se llevaban a cabo mediante un procedimiento manual. La técnica se perfeccionó en 1765 y se buscaba a artistas buenos que realizaran temas atractivos y novedosos, tanto en el período Edo (1615-1868) como en la era Meiji (1868- 1912). La Colección Bujalance es de carácter privado, cuyo propietario y creador es Emilio Bujalance. Matemático de profesión pero amante del arte japonés, tiene una extensa colección de ukiyo-e de diferentes períodos históricos, tanto del período Edo (1615-1868) como de la era Meiji (1868-1912), y de temática muy variada (bijinga-e o mujeres bellas, yakusha-e o actores del teatro, escenas del teatro noh y kabuki, fukei-ga o paisajes, musha-e o escenas de samuráis y guerreros, yokohama-e o extranjeros, kacho-e o naturaleza, sens표̅-e o escenas bélicas, etc.). Al tener esta colección un abanico temático tan amplio, he decidido centrarme en el estudio de los ukiyo-e de la era Meiji (1868-1912) que fueron menos conocidos y menos comercializados en Occidente. En concreto de las estampas que representan conflictos bélicos y específicamente en las de la Guerra Sino-Japonesa (1894-1895). Estas son de gran interés y muestran de manera gráfica cómo fueron las guerras que sufrió Japón en estos momentos. Al principio estas piezas no se utilizaban como obras de arte en sí mismas, sino que se utilizaban para ilustrar las noticias de la guerra. Su presencia no se encuentra de forma tan numerosa en otras colecciones privadas o en las colecciones públicas españolas, por eso mismo el interés recae en la Colección Bujalance donde hay un número muy amplio de obras. 2 2.2. Estado de la cuestión Las primeras publicaciones que aparecieron sobre ukiyo-e son de carácter internacional, pero no hay que olvidar las noticias de los periódicos de la época, como ésta de diciembre de 1894 donde se explicaba cómo se hacían las estampas japonesas de guerra.1 En esta introducción sobre la bibliografía general, también aparecen una serie de publicaciones de carácter global sobre la guerra. La obra más antigua es de Eastlake y Yoshiaki de 18962, una fecha muy temprana con respecto al resto de publicaciones.3 Las obras más antiguas sobre la Guerra Sino-Japonesa, fueron las tres que escribió Inouye en 1895 donde relató la historia completa de la guerra entre Japón y China en cinco volúmenes, el primero es de carácter general,4 el segundo trata la caída en Weihaiwei5 y el tercero se subdivide en tres tomos donde vuelve a tratar el tema de forma global,6 a estas obras hay que sumar los artículos de la misma época, uno sobre el ataque que se produjo en Haicheng7 y otro sobre la batalla de Yalú.8 Ya en la era Meiji, entre 1895 y 1898, se publicaron muchos escritos sobre la Guerra Sino-Japonesa,9 pero a partir de ese momento ya no se volvió a hacer ninguna publicación sobre este tema, hasta el 1904 cuando las noticias sobre la Guerra Ruso-Japonesa10 fueron numerosas. Por ejemplo, una publicación muy interesante de esta época es
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