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THE BOOK OF ASIAN DESIGN CONTRIBUTION En Cui, Samantha, Vania, Joey 1900s-PRESENT CONTENTS ◈ Introduction ◈ India ◈ China ◈ Japan ◈ Southeast Asia ◈ Singapore ◈ Conclusion INTRO we don’t talk about them you ain’t no asia INDIA ~1947: BRITISH COLONIAL RULE Western art influence established in India British Empire established schools of art in major cities: Bombay Art Society (1888) Romanticized style, with watercolour being the primary medium Conveys soft textures and tones Fusion of Indian traditions with European style Painting of the Goddess Saraswati, 1896 Raja Ravi Varma Ladies in the moonlight, Date Unknown Jatayu Wars with Ravana, 1895 1905: SWADESHI MOVEMENT Indian artists attempted to resuscitate cultural identities suppressed by the British Rejected Romanticized style of the Company paintings & Raja Ravi Varma’s style Bengal School of Art: Reworked Asian Styles (with emphasis on Indian nationalism) Bride’s Toilet, 1937, Oil on Canvas,146cm x 88.8cm, Amrita Sher-Gil Krishna and Balarama, 1930s Watercolour on paper, Jamini Roy “ Bharat Mata” circa1902-05 by Abanindranath Tagore,Water color and wash on paper, Rabindra Bharati, Kolkata 1947: INDEPENDENCE Indian nationalist movement grew Naturalistic paintings of Raja Ravi Varma lost popularity Now attempt to develop a uniquely Indian Modern Art that differs from European styles of painting Many to turn to the past for inspiration. Calcutta Art School (Bengal): Replaces its collection of European art with examples of indigenous traditions. Art dept. at Santiniketan (West Bengal): European modernism and Japanese aesthetics to develop a new Indian art. Bengal School of New Clouds, 1937 by Nandalal Bose, a renowned Bengal School artist painting: turns for inspiration to older Indian art forms. Line and colour > ART SCHOOLS INSPIRED volume and chiaroscuro. Contemporary Art (1900 CE-PRESENT) Development of EU Art + Indian aesthetics and experiences Bombay Progressive Artists’ Group: New ways of expressing India in post-colonial era Inspired by Matisse, Picasso, Cubism, and abstraction to everyday life, religious symbolism, and traditional Indian painting. Contrast to the West: figuration remains popular in South Asia. Stretched Bodies, Bose Krishnamachari Boy with a Golden Swan, 1995, Bikash Bhattacharya Calligraphic Abstract, ,1996, Ismail Gulgee Madhubani, Bharti Dayal The Spiro terra-cotta speaker dock, designed by New Dehli-based Thukral and Tagra, uses a clay dome to amplify the sound from a wireless speaker. How to St. Jerome, oil on linen, balance Shibu Natesan Untitled, 2017, Virtues of a Hero | Acrylic, Sudarshan Shetty, fabric, glue | 90" x 72" | 2015, tradition Leila Heller Gallery Jagannath Panda and Light in hidden ash IndiaUrban’s Damroo steel Ayush Kasliwal’s utensils Acrylic on tarpaulin, modern stool painted in vivid reinterpret traditional begging 5x5.5ft, 2017, Iranna GR turquoise with a handwoven bowls of monks technology cotton top 101 Untitled, 1985-1989, Great Alibis of the Cognates - V, Banyan Art, 2015, Surendan Nair Rekha Rodwittiya Aicon Gallery In Summary Contemporary Indian art focused on dichotomies of past and present, tradition and modernity, India and the West. Postmodern hybridity Bring together local techniques and materials with global modes within the same artwork. South Asia’s artists in 20th Century: secular nationalists. CHINA Early 1900: CONFUCIANISM Confucius’s humanistic teachings Calligraphy, whiteware ceramics, pottery Scholar’s rock Rock in the form of a seated tiger Black Lingbi limestone with carved Calligraphy of Confucius’s teaching wooden stand 1910s~1920s: NEW CULTURE MOVEMENT Confucianism blamed for the failure of the Chinese Republic. A want for a new Chinese culture based on global standards. 1920s: NEW CONFUCIANISM “New Confucian Manifesto” (1958) China has to learn from the West, but similarly, the West has to learn from China as well. A mixture of Confucianism and New Cultural Movement. China Sketch, December 1936 "The End of Science" (back cover) Illustrator: Zhong-xin 1966-1976: CULTURAL REVOLUTION China transitioned to Socialism. Social realism graphic design. Modernization at the cost of tradition. Artists had to create art for the people. Conflicting wants between artists and the authorities. The Far Snows of Minshan Only Make Us Happy (Fu Baoshi, 1953) 1980~: CONTEMPORARY ART China finally opened up to international relationships, slowly but surely. Xiaojun and Xiuling (Liu Xiaodong, 2015) Father (Luo Zhongli, 1980) In Summary Chinese art is greatly varied; some artists expand on the propaganda art, some artists go back to explore Chinese traditions and culture. A lot of mixtures of West and Chinese components, sometimes still retaining the sensitivity to nature. JAPAN History of Japanese Design Before the end of the World Wars: 1900s-1920s ◈ Intertwined with the Meji Restoration of 1868 ◈ Taisho Period (1912-1926) ◈ Showa Period (1926-1989) ◈ Saw change in political, economical and social context ◈ Focused largely on Nationalism ◈ Start of Modernization Before the end of the World Wars: 1930s-1940s ◈ Midst of World War II ◈ Militaristic mood in Japan ◈ Art as centered around war ◈ Japan rising up as a dominating power ◈ Promote war machines, collaborating with the wartime government or was anti-war ◈ Japan lost the war, had to rebuild itself The Heavy Hand (1949) Massao Tsuruoka End of World War II - The need for survival ◈ After 1945 ◈ Start of a new transition ◈ Saw dissolving of Japan empire ◈ Japan moved from military focused to economic focus for rebuilding of country ◈ Moving from seclusion to openness End of World War II- Internationalization ◈ Opening of markets to the world ◈ Export-oriented ◈ Spurred the need for innovation and better quality products ◈ Increase Research and Development (R&D) Quality control ◈ To increase export competitiveness ◈ Make products more appealing ◈ Increase market share and enjoy better profits ◈ Cost more in short term but better investment in long run ◈ Became a culture spread around Japan ◈ Firms setting up internal quality control training programmes (SQC) Japanese Contemporary Design Modern and Minimalist Design ◈ Less is more ◈ Keeping only what is needed ◈ Influenced by Zen-style design; nature ◈ A lot of creativity needed; every stroke/element needing meaning ◈ Designs being innovative in saving space Into the Minimalist... Muji Toothbrush Stand Butterfly Chair by Yanagi Sori Interior Design and Furniture Furniture Design- Saving space High Quality Products ◈ Customer Satisfaction guaranteed Japanese Pop Art ◈ Started getting influenced by US and UK (1950s) but Japan had first developed their own style; avant-garde scene ◈ Inclusion of old Japanese Traditional Art forms ◈ Superflat postmodern movement Japanese Pop Art Anime and Manga ◈ Started in 1917 but stylisation emerged in 1960s ◈ Storytelling through art ◈ Graphic art, characterization and cinematography Anime and Manga Stylization ◈ Influence from pop-art ◈ Shows details of face and focuses on showing of emotional physically ◈ Characters change shape to better express their emotions (eg. grow fangs) ◈ Large eyes to express emotions ◈ Exaggeration From 1917... Namakura Gatana To the anime we see today... Kawaii ◈ Originated in Japan ◈ Associated with cuteness and shojo culture ◈ Mostly seen in Manga and Anime but has progressed to many other forms ◈ Believe cuteness to be of an aesthetic ◈ Avant-garde aesthetic Kawaii Graphic design in the 1920s-1930s Poster for Japan's "Buy Domestic!" Magazine ad for first national poster, 1930 "Seishun Zukai" census, 1920 movie, 1931 Graphic design In Summary ◈ Built on the foundation of its rich history ◈ Gone through a lot; Japanese design has been ever changing and evolving to its culture ◈ Made its mark worldwide ◈ Expressive in a way that is unique, instantly recognisable SOUTHEAST ASIA Southeast Asia ◈ Fairly new sovereign states ◈ Indigenous Austronesians ◈ Natural resources ◈ Trade region (maritime & land) ◈ Colonialism ◈ Religion Southeast Asia ◈ Fairly new sovereign states Southeast Asia ◈ Indigenous Austronesians ◈ Natural resources Southeast Asia ◈ Trade region (maritime & land) ◈ Colonialism ◈ Religion Samatoa Cambodia, 2009 to present UNESCO 2012 Award of Excellence for Handicrafts La France s’engage au Sud contest prize winner Supplier for Loro Piana Cane Collection Thailand, 2017 Designed by winners of Rising Talent Award Asia at Maison&Objet Paris SINGAPORE Singapore ◈ No natural resources ◈ No (mostly) homogenous population ◈ Technologically advanced ◈ Environmentally conscious ◈ Government support ◈ Extremely developed H55 Hanson Tan Various international design publications Asylum Chris Lee President Design Award, various other awards Aijek Danelle Woo Supplied Natalie Zea (left) Depression Kenny Lim & Andrew Loh Supplied Adam Lambert, Black Eyed Peas, et cetera Spotted Nyonya Hans Tan Les Decouvertes distinction award at Maison&Objet (2011) Design of the Year at President’s Design Award (2012) NEWater The Government Water for Life United Nations Water Best Practices 2014 And various other awards for technological design, which is technically (haha lmao. technical. get it) also design in its own way WOHA Wong Mun Summ & Richard Hassell Aga Khan Award for Architecture (2007) And various other awards because they are very very acclaimed in the world ADM CPG Consultants Green Mark Platinum Award from the Building and Construction Authority I mean… You just have to mention this building… That we are sitting in… It’s not an option honestly………... In Summary
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    ANIME’S ANCESTRY: KAWABATA’S THE SCARLET GANG OF ASAKUSA AND OE’S HELP US TO OUTGROW OUR MADNESS AS A PRELUDE TO JAPANESE ANIMATION A Thesis by Cynthia Naomi Moss Bachelor of Arts, Friends University, 2010 Submitted to the Department of English and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts December 2012 © Copyright 2012 by Cynthia Moss All Rights Reserved ANIME’S ANCESTRY: KAWABATA’S THE SCARLET GANG OF ASAKUSA AND OE’S HELP US TO OUTGROW OUR MADNESS AS A PRELUDE TO JAPANESE ANIMATION The following faculty members have examined the final copy of this thesis for form and content, and recommend that it be accepted in partial fulfillment of the requirement for the degree of Master of Arts with a major in English. ____________________________________ Peter Zoller, Committee Chair ____________________________________ Kimberly Engber, Committee Member ____________________________________ Wilson Baldridge, Committee Member iii ACKNOWLEDGEMENTS I would like to thank my advisor, Peter Zoller, for his patient guidance and support. Without his inspired topic suggestion, this thesis would not exist. I am grateful for every fielded concern and encouraging comment. Appreciation is also due to Dr. Kimberly Engber and Dr. Wilson Baldridge for their thoughtful commentary, creative input, and interest in the project. I am grateful to my parents, who offered help every step of the way. My thanks also go to Merritt Stuever, both a sounding board and patient support. iv ABSTRACT Much research exists on the considerable influence of American and European culture on the newly opened borders of Japan in the 1920’s, yet there is very little recognition of French influences beyond the acknowledgement of Surrealism in literary and artistic circles.