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La Creación Artística Como Puente Entre Oriente Y Occidente Sobre La Investigación Del Arte Asiático En Países De Habla Hispana

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La Creación Artística Como Puente Entre Oriente Y Occidente Sobre La Investigación Del Arte Asiático En Países De Habla Hispana La creación artística como puente entre Oriente y Occidente Sobre la investigación del Arte Asiático en países de habla hispana Pilar Cabañas Ana Trujillo (coord.) Grupo de Investigación ASIA Grupo de Investigación Complutense Arte de Asia GRUPO DE INVESTIGACIÓN ASIA La creación artística como puente entre Oriente y Occidente Sobre la investigación del Arte en países de habla hispana Primera edición: 2012 Coordinación de edición: Pilar Cabañas Moreno y Ana Trujillo Dennis Comité científico Pilar Cabañas Moreno María Jesús Ferro Payero Cinta Krahe Noblett Javier Villalba © de los textos: los autores © de las imágenes: los propietarios © de la presente edición: Grupo de Investigación Completense Arte de Asia, Grupo de Investigación ASIA ISBN: 978-84-608-1263-0 Depósito Legal: M-15683-2012 Diseño y maquetación: María Cabello Sánchez Esta publicación no habría sido posible sin la colaboración de Fundación Japón, la Facultad de Geografía e Historia de la Universidad Complutense de Madrid, el Grupo de Investigación Japón - España. Relaciones a través del Arte y el Centro de Estudios Asiáticos y Africanos del Colegio de México. Los autores de cada artículo se han responsabilizado de los permisos de reproducción de las imágenes. Queda prohibida la reproducción parcial o total de este libro sin permiso de los editores. Índice Págs. • PRESENTACIÓN • LA CREACIÓN ARTÍSTICA COMO PUENTE ENTRE ORIENTE Y OCCIDENTE The Netherlands and the Far East. Some examples of interaction in Decorative Art Christiaan J. A. Jörg 11 Forgotten Japonisme. Toshio Watanabe 20 Los artistas españoles y su mirada al arte japonés a través de la experiencia de Fernando Zóbel. Pilar Cabañas 29 Porcelana china en la corte española desde los Reyes Católicos a Felipe II. Cinta Krahe 41 Abanindranath Tagore. Entre el nacionalismo y la occidentalización. Mª Jesús Ferro 57 • SOBRE LA INVESTIGACIÓN DEL ARTE ASIÁTICO EN paÍSES DE HABLA HIspaNA La investigación del arte japonés en España Elena Barlés 70 1. Intercambios y relaciones La influencia asiática con especial énfasis en Japón, y su impacto en las artes de la Nueva España. Fátima M. Castro 105 Japón y el japonismo en L´Illustrazione Italiana (1873-1945). Pilar Araguás 114 Japonismo Musical. Luisa María Gutiérrez Machó 124 Mekiki horimono. Diseños japoneses de motivos decorativos aplicados a monturas de sables japoneses. Marcos A. Sala 140 Una aproximación al estudio de las chinerías en España. María Bayón 148 Índice Págs. El movimiento Mingei en las colecciones del Museu Etnològic de Barcelona. El caso . de los Kyôdo-gangu (郷土玩具) o juguetes populares y tradicionales japoneses. Muriel Gómez 156 El Japón reflejado en el Espasa. Breve síntesis del proyecto. Ramón Vega 166 Bokubi: El diálogo entre la caligrafía y la pintura abstracta en los años cincuenta. Aitana Merino 178 Papeles viajeros y arte moderno. El archivo de Shûzô Takiguchi. Isaac Ait 184 Mishima Yukio y el Martirio de San Sebastián. Julio César Abad 189 Butoh: Ontología del cuerpo, estética del alma. Joan Carlos Soler 197 Influencias orientales en la arquitectura moderna occidental. El caso español: Miguel Fisac. Oscar Lorente 208 Artistas, curadores y coleccionistas: de la emergencia a la consolidación del arte experimental en China. Laia Manonelles 219 Takashi Murakami o “el Andy Warhol japonés”. Ana Trujillo 228 El Super Flat actual: doctrina y presión del extranjero. Lisander Martínez 239 Rompiendo fronteras: arte japonés actual en España. Laura Clavería 247 Kawaii. El “Lazo” entre Japón y España: la obra de Charuca Vargas. Alejandra Rodríguez 259 La obra fílmica del director Zhang Yimou como medio de transmisión y aproximación a la cultura china tradicional y contemporánea. Recepción y percepción de su obra en Occidente. Ana Cristina Labaila 271 2. Sobre coleccionismo De donde nace el sol: arte de Asia Oriental en los museos públicos españoles. Historia de las colecciones asiático-orientales del Real Gabinete de Historia Natural, Museo Arqueológico Nacional, Museo Nacional de Artes Decorativas y Museo Nacional de Índice Págs. Antropología. Delia Sagaste 281 Coleccionismo privado de libros y estampas ukiyo-e en España entre los siglos XIX y XX Esther Martínez 293 Orígenes del coleccionismo de arte japonés en Castilla y León. Milagros Villanueva 303 3. Arte japonés en su contexto original Suibokuga 水墨画: Su producción, distribución y exhibición en el período Muromachi. María Laura Torres 311 Poesía y pintura en Il sentiero dell´Oku. Irene Starace 323 Nûdo shashin: la construcción del cuerpo y el desnudo en la fotografía del período Meiji. María Ibarí 329 La imagen de los personajes femeninos en el shônen manga (1995-2005).Andrea de Pablos 339 La imagen de la familia en los trendy dorama. Vanessa Carrera 350 7 Presentación Este trabajo titulado La Creación Artística como puente entre Oriente y Occidente: Sobre la investigación del Arte Asiático en países de habla hispana, responde a una iniciativa que partió del Grupo de Investigación Arte de Asia y el Grupo de Investigación Asia, dirigidos por la profesora Pilar Cabañas Moreno, titular en Historia del Arte de la UCM. Esta fue bien acogida por el Grupo de Investigación: Japón y España: Relaciones a través del Arte, dirigido por la profesora Elena Barlés Báguena, y el Centro de Estudios Asia y Africa del COLMEX (Colegio de México), representado por el profesor Amaury García Rodríguez, siendo posible su publicación gracias a la ayuda económica de la Fundación Japón, la Facultad de Geografía e Historia de la UCM, y la Casa del Estudiante (UCM), a quienes queremos expresar desde estas páginas nuestro agradecimiento por su confianza y ayuda. Con este estudio se intenta evidenciar cuales son las líneas de investigación que están abiertas en este momento en la universidad española en torno al tema de la Historia del arte de Asia Oriental y el arte Indio y su zona de influencia. Pero al mismo tiempo, se pretende que sea un hilo de conexión con aquellas abiertas en otros países de habla hispana. Por dicha razón en este trabajo se recogen algunos ejemplos de investigaciones abiertas en México, y en futuros proyectos se espera puedan tener presencia participaciones de otros países de América Latina, con el deseo de establecer una red de investigadores latinos dedicados a la historia del arte asiático. Esta publicación se ha estructurado en dos secciones, la primera responde al título principal de la publicación: La Creación Artística como puente entre Oriente y Occidente, donde se pone de manifiesto a través del arte cómo podemos visualizar que no somos islas, y que progresamos en la medida en que somos capaces de abrirnos a los demás sin el temor de borrar nuestra identidad; que los contactos culturales siempre son enriquecedores, y que la naturaleza de quien lo recibe evita que sea una simple copia o caricatura. Por medio del arte de estos pueblos podemos advertir cómo la apertura al otro contribuye a construir incluso la propia identidad, inyectando nueva savia que ayuda a no hundirse cuando llegan momentos de dolor y aridez creativa. Este apartado recoge por ello una serie de trabajos en los que se quiere evidencia, como historiadores del arte que somos, que éste ha sido siempre un puente entre culturas, un vínculo que ha despertado admiraciones y deseos, y que el arte es una fuente de conocimiento, no sólo de las culturas, sino también del interior del hombre. En esta sección participan relevantes profesores de instituciones europeas como Toshio Watanabe, director del Transnational Art, Identity and Nation (TrAIN) Research Centre de La creación artística como puente entre Oriente y Occidente, 2012 -- ISBN.: 978-84-608-1263-0 8 Londres, y Christiaan Jörg, docente durante muchos años de Material History of the Cultural Interactions Between Asia and Europe en la universidad holandesa de Leiden; junto con investigadores españoles, miembros del Grupo de Investigación Arte de Asia y el Grupo de Investigación Asia, todos ellos formados en la Universidad Complutense de Madrid, universidad pionera en los estudios asiáticos relacionados con el arte en nuestro país. La segunda sección titulada Sobre la investigación del Arte Asiático en países de habla hispana se abre con un trabajo de la profesora Elena Barlés, de la Universidad de Zaragoza, en el que hace un exhaustivo recorrido por las relaciones hispano-japonesas a lo largo de la historia, y cómo éstas han condicionado la evolución de la investigación en torno a la historia del arte asiático, y en especial del arte japonés. Tras ella se da paso a toda una serie de trabajos que pretenden establecer el punto actual de las líneas de investigación abiertas hasta este momento en torno a la historia del arte en el área que nos ocupa, y que evidencian que China y Japón acaparan la atención de la mayoría de los investigadores. Un detenido análisis de la compilación realizada nos indica que la línea de investigación de relaciones interculturales abierta en el año 2000 por la profesora Pilar Cabañas con la publicación La fuerza de Oriente en la obra de Joan Miró, tiene hoy una gran vitalidad. Estos trabajos aparecen agrupados bajo el epígrafe: Intercambios y relaciones. Por otro lado nos encontramos con investigaciones centradas en el estudio del coleccionismo en España y la catalogación de las manifestaciones artísticas de estos países en nuestras instituciones: Sobre coleccionismo. Se trata de una línea de investigación sumamente apoyada desde el Ministerio de Educación y Ciencia a través de los Proyectos de Investigación I + D, concedidos con rigurosa continuidad desde 2005 al Grupo de Investigación: Japón y España: Relaciones a través del Arte, dirigido por la profesora Elena Barlés. Una línea de investigación importante y necesaria para llevar adelante en nuestro país, que sirve para poner de relieve el patrimonio que de estas culturas atesoran nuestros museos. Una tercera línea de investigación abierta es la que se centra en las manifestaciones del Arte japonés en su contexto original, percibiéndose una mayor inclinación hacia temas del mundo contemporáneo.
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