DOCSLIB.ORG

2005-2006 Fellowship and Scholarship Winners

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2005-2006 Fellowship and Scholarship Winners FELLOWSHIP AND SCHOLARSHIP WINNERS 2015-2016 The following is a list of the winners of all GSAS-administered fellowship competitions. It does not include the winners of the many non-GSAS fellowship competitions and may not indicate where students have declined the award. GRADUATE STUDENTS WIN FULBRIGHT GRANTS FOR RESEARCH ABROAD A total of six Cultural Exchange Fulbright grants from the Institute of International Education (IIE) were made to GSAS students that will allow them to conduct dissertation or other advanced research abroad next year. Below are the students and their topics: IIE Fulbright Awards Steffani Bennett, History of Art and Architecture The China Years: Sesshu Toyo and Fifteenth-Century Chinese Painting My proposed dissertation project explores the work of the fifteenth-century Japanese artist Sesshu Toyo (1420-1506) and how his travel to Ming China profoundly mediated his artistic practice and career, transforming the field of Muromachi-period painting in Japan. I will conduct archival and object-based research in Japan during the 2015 to 2016 academic year under the guidance of Professor Shimao Arata and Gakushuin University in Tokyo. Ernest (Billy) Brewster, East Asian Languages and Civilizations (Declined) Between Faith and Logic: Buddhist Philosophy of Religion in Ming China I am applying for the Fulbright Cultural Exchange Grant to spend a year as a Senior Visiting Student in the Department of Philosophy of Fudan University to conduct dissertation research on a period of Chinese history when Buddhism underwent a radical transformation in response to challenges from Western science and religion. My study shows how Buddhist scholars of the Ming Dynasty (1368-1644) drew from Buddhist logic and epistemology to defend their faith. Deirdre Debruyn-Rubio, Religion Cultivating Religious Citizens: Politics of Interfaith Organizations in France and the U.S. Through a comparative ethnographic study of interfaith organizations in France and the United States, my dissertation examines how Muslim participants of interfaith organizations make sense of how to be religious citizens in democratic, secular societies. A Fulbright Research Grant will fund the French phase of my research, which I will contact at four major interfaith organizations in Paris. Neelam Khoja, Near Eastern Languages and Civilizations Historiography of South Asia: Writing 18th and 19th Century Histories of Punjab My dissertation examines the challenging process of history writing in Punjab during a tumultuous, but remarkable, two hundred year period from 1700-1900. I will intertextually read Persian and Urdu histories and documents disclosing instructions for history writing, located in libraries and archives in India. My dissertation will contribute to the needed study of Punjab historiography, as relatively little scholarship exists on Punjab during this period. David Porter, East Asian Languages and Civilizations Ethnic and Status Identity in Qing China: The Hanjun Eight Banners In my dissertation, I plan to examine the interplay between ethnic and status identity in late imperial China. In addition, I hope to consider the Qing Empire’s (1644-1912) core military and social welfare system, the Eight Banners, in a broader global context as a status system that, like similar systems in other early modern states, tied social privilege to administrative and military service. A Fulbright grant will help me analyze the hybrid identity of the Eight Banners by using Qing archival sources, principally in Beijing, that record how the state constructed ethnic and status identity within the banner system, and how the relationship between those two sorts of identity changed over the course of the dynasty. Kimberly Wortmann, Religion Religious Tolerance in Islam: The Case of the Ibadhi Community of Zanzibar My dissertation will focus on the Ibadhi Muslim minority community of Zanzibar and its effectiveness, since liberalization in the mid-1980s, in adopting an increasingly inclusive position towards other Muslims while also renewing a sense of local Ibadhi identity. Through interviews, observations, and archival work, I will examine how the main Ibadhi association in Zanzibar, Istiqaama, addresses sectarian biases at the institutional and societal levels. Sheldon/Kennedy Fellowships Ernest (Billy) Brewster, East Asian Languages and Civilizations Between Faith and Logic: Buddhist Philosophy of Religion in Ming China Andrew Campana, East Asian Languages and Civilizations (Declined) Poetry Across Media in 20th-Century Japan Guangchen Chen, Comparative Literature The Collector as Angel of History: Objects, Scripts, Quotations, Anthologies and Cultural Cosmopolitanism in China, Czechoslovakia and Germany, 1924-1979 Charles Clavey, History The Promise of Phenomenology: Philosophy, Politics, and Ethics in the Scuola di Milano, 1920-1980 Devin Fitzgerald, East Asian Languages and Civilizations Sinocentric Information Networks in the Early Modern World: News and Books in the Global Construction of Qing China Louis Gerdelan, History The epistemologies of disaster in the Atlantic World, 1666-1755 Lisa Haber-Thomson, Architecture, Landscape Architecture and Urban Planning Territories of incarceration: architecture and judicial procedure in the English Channel, 1642-1945 Kathryn Heintzman, History of Science France and the Administration of Human and Animal Interdependence, 1761-1804 Rujing Huang, Music Court Music Without a Court: Reviving Yayue in Contemporary Mainland China and Taiwan Margaret Innes, History of Art and Architecture Signs of Labor in the American Photographic Press, 1926-1951 Veronika Kusumaryati, Anthropology Alerts and Transmissions: Electoral Politics, Digital Media Technology, and Political Mobilization in Contemporary West Papua Charlotte Lloyd, Sociology Australian Reconciliation: Organizations and the Remaking of Social Inclusion Sarah Jane Lockwood, African and African American Studies Taking to the Streets: Understanding Protest in Post-Apartheid South Africa Deirdre Moore, History of Science Traditional methods of growing and treating cochineal dye insects in Mexico during the 18th century Florin Stefan Morar, History of Science The World Map in Sino-Western tradition Jonathan Phillips, Government Politics Against the Grain: When Do Politicians Create Programmatic Electoral Arenas? David Porter, East Asian Languages and Civilizations Ethnic and Status Identity in Qing China: The Hanjun Eight Banners Stefan Prins, Music Compositional research in the field or multimedial instrumental musical theatre David Sadighian, History of Art and Architecture Building a Global Imaginary: Architecture and Circulation, 1867-1914 Kai Thaler, Government From Insurgent to Incumbent: State Building and Governance after Rebel Victory in Civil Wars Marrikka Trotter, Architecture, Landscape Architecture and Urban Planning Exploration of architecture’s engagement with geohistory using case studies as evidence Peter Volberding, Government KfW and the Global Convergence of National Development Banks Eldra Walker, Architecture, Landscape Architecture and Urban Planning Progression and Regression: The Question of the Primitive in Modern French Architectural Thought and Practice, 1830-1893 Kimberly Wortmann, Religion Religious Tolerance in Islam: The Case of the Ibadhi Community of Zanzibar Liang Xu, History Chinese in Newcastle: Apartheid Policy, Asian Investment and the (Un)Making of a South African Industrial Town Lurcy Fellowship Sarah Grandin, History of Art and Architecture Artisanal Operations of Scale under Louis XIV, 1661-1715 Knox Fellowships Georgia Henley, Celtic Studies The Evolution of a Shared Past: Chronicles, Translation and Networks of Literary Exchange between Wales and England, 1135-1400 Warrick Moses, African and African American Studies In the Mix: Interrogating South African “Mixed-Race” or Coloured Identities in Cape Town-Based Hip-Hop Merit/Term-Time Fellowships Colin Bossen, American Studies More Bright than any Heaven: American Social Movements and Religion in the Wake of World War I Lowell Brower, African and African American Studies In the Place of Sorrow: Silence, Storytelling, and Sociality in Post-Genocide Rwanda Elisabeth Burton, Middle Eastern Studies Genetic Nationalism: Ethnic Mythmaking and Human Biology Research in Iran, Turkey, and Israel Andrew Cunningham, Human Evolutionary Biology Examination of the Okavango Delta Elizabeth Davis, African and African American Studies Making Movement Sounds: The Highlander Folk School & the Cultural Politics of Race Maria Trout, Astronomy The final stages of evolution and eventual catastrophic deaths of the most massive stars Ruffin Evans, Physics Nanophotonics Athena Eyster, Earth and Planetary Sciences Neoproterozoic tectonics, with a focus on Laurentia, central to the supercontinent Rodinia Cara Fallon, History of Science Accidents of Our Own Design: Falls, Age, and Alterations of Space in the Twentieth Century Qiuyi Han, Statistics Developing Models and Inference for Networks Oliver Hauser, Organismic and Evolutionary Biology Human cooperation, and its emergence and sustenance beyond the existing frameworks and theories of reciprocity Monica Hershberger, Music (Declined) American Operatic Heroines and the Early Cold War in the United States Rebecca Kastleman, English Zealous Acts: A Religious History of Modern Drama, 1890-1968 Madhav Khosla, Government Modern Constitutionalism and the Indian Founding Krystal Klingenberg, Music The Creation and Circulation of the Popular Music of Uganda,
Load more

Recommended publications
  • Удк 712.42:635.923 Сприйняття Рьоан-Дзі Восприятие Рёан
    160 Культура України. Випуск 48. 2015 УДК 712.42:635.923 Ендрю Дж. Сведлоу, професор мистецтвознавства та історії мистецт ва, Університет Північного Колорадо, США СпРИЙНяТТя РЬоАН-дзі У храмі Рьоан-дзі в Кіото розташований найвідоміший у Японії сад каменів. Камені розміщені так, що з будь-якого кута побачити всю композицію неможливо. Щодо цього саду, як і будь-якого витвору мистецтва, можливі різні інтерпретації. Висвітлено зв’язок між естетичними теоріями за часів створення саду та сучасними поглядами на природу і мистецтво, розглянуто важливість місця медитації в естетичному досвіді. Проаналізовано суворість і про- стоту саду в Рьоан-дзі в історичному і релігійному контекстах. Ключові слова: храм, сад каменів, дизайн, медитація, асиметрія, традиції дзен-буддизму. Эндрю Дж. Сведлоу, профессор искусствоведения и истории искус- ства, Университет Северного Колорадо, США ВоСпРИяТИЕ РЁАН-дзИ В храме Рёан-дзи в Киото находится самый знаменитый в Япо- нии сад камней. Камни расположены так, что под любым углом увидеть всю композицию невозможно. Относительно этого сада, как и любого произведения искусства, возможны различные ин- терпретации. Освещена связь между эстетическими теориями времен создания сада и современными взглядами на природу и искусство, рассмотрено значение места медитации в эстетиче- ском опыте. Проведен анализ строгости и простоты сада в Рёан- дзи в историческом и религиозном контекстах. Ключевые слова: храм, сад камней, дизайн, медитация, асимме- трия, традиции дзэн-буддизма. Andrew J. Svedlow, Ph.D., Professor of Art History University of Northern Colorado. Greeley, Colorado, USA EMBraCING rYOaN-JI Ryoan-ji temple in Kyoto is the site of Japan's most famous rock gar- den. The stones are arranged so that the entire composition cannot be seen at once from any angle.
    [Show full text]
  • [Art List of Works] Echoes of a Masterpiece: the Lineage Of
    Organizers: Tokyo National Museum, Kokka-sha, The Asahi Shimbun, List of Works TV Asahi Corporation, BS Asahi With the Sponsorship of: Takenaka Corporation, Toppan Printing Co., Ltd., Mitsubishi Corporation With the Cooperation of: Aioi Nissay Dowa Insurance Co., Ltd., NIPPON EXPRESS CO., LTD. Echoes of a Masterpiece: Note; ・Exhibition numbers correspond to the catalogue entry numbers. However, the order of the artworks in the exhibition may not necessarily be the same. The Lineage of Beauty ・The symbols before the titles means the following; ◉=National Treasure, ◎=Important Cultural Property. ・Some artworks* may also be rotated during the exhibition period. Exhibition lineup may change as in Japanese Art circumstances require. ・The rotation schedule is as follows; Friday, April 13 – Sunday, May 27, 2018 ①４/１３（ Fri.） ４/２ ２（ Sun.） ④５/８（ Tue.） ５/１３（ Sun.） ②４/２ ４（ Tue.） ４/２９（ Sun.） ⑤５/１５（ Tue.） ５/２ ０（ Sun.） Heiseikan, Tokyo National Museum ③４/３ ０（ Mon.） ５/６（ Sun.） ⑥５/２ ２（ Tue.） ５/２ ７（ Sun.） The rotation No. Title Artist, etc Period Collection schedule Chapter 1: The Lineage of Faith 1 ◎ Standing Buddha, Ascribed as Nara period, 8th century Toshodai-ji, Nara Yakushi Nyorai (Bhaisajyaguru) 2 ◎ Standing Bodhisattva, Ascribed as Shuho’o Bosatsu Nara period, 8th century Toshodai-ji, Nara 3 ◎ Standing Eleven-headed Kannon (Ekadasamukha) China, Tang dynasty, 8th century Jinpuku-ji, Yamaguchi 4 ◎ Standing Eleven-headed Kannon (Ekadasamukha) Nara period, 8th century Domyo-ji, Osaka 5 ◉ Standing Yakushi Nyorai (Bhaisajyaguru) Nara to Heian period,
    [Show full text]
  • Zen As a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries
    Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries by Meng Ying Fan A thesis submitted in conformity with the requirements for the degree of Master of Arts Department of East Asian Studies University of Toronto © Copyright by Meng Ying Fan 2020 Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries Meng Ying Fan Master of Arts Department of East Asia Studies University of Toronto 2020 Abstract This essay explores the impact of Chan/Zen on the art of landscape painting in China and Japan via literary/visual materials from the twelfth to sixteenth centuries. By rethinking the aesthetic significance of “Zen painting” beyond the art and literary genres, this essay investigates how the Chan/Zen culture transformed the aesthetic attitudes and technical manifestations of picturing the landscapes, which are related to the philosophical thinking in mind. Furthermore, this essay emphasizes the problems of the “pattern” in Muromachi landscape painting to criticize the arguments made by D.T. Suzuki and his colleagues in the field of Zen and Japanese art culture. Finally, this essay studies the cultural interaction of Zen painting between China and Japan, taking the traveling landscape images of Eight Views of Xiaoxiang by Muqi and Yujian from China to Japan as a case. By comparing the different opinions about the artists in the two regions, this essay decodes the universality and localizations of the images of Chan/Zen. ii Acknowledgements I would like to express my deepest gratefulness to Professor Johanna Liu, my supervisor and mentor, whose expertise in Chinese aesthetics and art theories has led me to pursue my MA in East Asian studies.
    [Show full text]
  • Ifroim Zens I Jae Rocks of Sessw to Xrimniplii ©If Rae Sparrows Zen Poems of Siainkicli Xakawski S Tlae Japanese Sources of Lmcien Sfoyk S Early Poenis
    IFroim Zens I Jae Rocks of SessW to Xrimniplii ©if rae Sparrows Zen Poems of SiainkicLi XakaWski s Tlae Japanese Sources of Lmcien Sfoyk s Early Poenis David Ewick louden Stryk's arrival for his first visiting lectureship in Japan, at Niigata University in the summer of 1956, coincided with the publication of a second successful collection of poems, The Trespasser. Poems in this collec tion, like those in the earlier Taproot (1953), were respectable and well- wrought, reliant upon accentual meters and predetermined forms, but striking enough in theme and diction to avoid easy placement in what Del- more Schwartz was to call by the end of the decade the "peaceful public park" of contemporary American poetry. Of poems from these collections reprinted in Stryk's Collected Poems' perhaps the best is "The Stack Among the Ruins" (p. 4). In the second stanza the "stack" of the title is described, a chimney of a building destroyed in war: No smoke lifts from the broken chimney's lip Where winds hurl down to jar the blistered fields: It stands alone, a maniac that yields No breath or word, but raddled by the dip And twist of day, rums inward to a grief That's like an arm shaped through an empty sleeve. The closing simile is more daring than most of the period, and anticipates in 314 F r o m " Z e n : T h e R o c k s o f S e s s h u " 3 1 5 several ways things to come, but in other matters, the stricdy iambic five- stress lines, regular end rhyme, and elevated theme, the stanza is faithful to mainstream mid-fifties poetics.
    [Show full text]
  • The Appreciation of Zen Art
    (Arts of Asia, September – October, 1986) "My play with brush and ink is not calligraphy nor painting; yet unknowing people mistakenly think: this is calligraphy, this is painting." Sengai Gibon (1750-1837) THE APPRECIATION OF ZEN ART John Stevens THE EARLIEST reference to Zen brushwork occurs in the Platform Sutra of the Sixth Patriarch, a text which relates the life and teaching of the illustrious Chinese master Hui- neng (638-713). Buddhist scenes, composed in accordance to canonical dictates, were to be painted on the walls of the monastery in which Huineng was laboring as a lay monk. At midnight the chief priest sneaked into the hall and brushed a Buddhist verse on the white wall. After viewing the calligraphy the next morning, the abbot dismissed the commissioned artist with these words: "I've decided not to have the walls painted after all. As the Diamond Sutra states 'All images everywhere are unreal and false."' Evidently fearing that his disciples would adhere too closely to the realistic pictures, the abbot thought a stark verse in black ink set against a white wall better suited to awaken the mind. Thereafter, art was used by Chinese and Japanese Buddhists to reveal the essence, rather than merely the form of things, through the use of bold lines, abbreviated brushwork, and dynamic imagery—a unique genre now known as Zen art. Although the seeds of Zen painting and calligraphy were sown in China, this art form attained full flower in Japan. Masterpieces of Chinese Ch'an (Zen) art by such monks as Ch'an-yueh, Liang K'ai, Yu Chien, Mu Ch'i, Chi-weng, Yin-t'o-lo and I-shan 1-ning were enthusiastically imported 1 to Japan during the twelfth and thirteenth centuries and a number of native artists, for example Kao Sonen and Mokuan Reiun, studied on the mainland.
    [Show full text]
  • East Asian Art History Culture, Politics, History
    East Asian Art History Culture, Politics, History Christina Wei-Szu Burke Mathison History of Art Department The Ohio State University Art – Context – Historical, Political, Cultural Terminology Traditional Painting in East Asia: China, Korea, Japan Comparison Taiwan, China, Japan, Korea during the 19th-20th centuries Concepts of Modernity – Traditional vs. “Modern” Taiwan During the Japanese Occupation (1895-1945) Chen Cheng-po (Tan Ting-pho) 陳澄波 (1895-1947) Taiwan Tokyo, Japan Shanghai, China Taiwan Stylistic Characteristics Composition - Color - Brushwork - Line and Form – Mood Subject Matter – Iconography - Context iconography, context iconography, context Homonym iconography, context Chinese Painting Traditions Five Dynasties, Northern Song, Southern Song, Yuan Periods Attributed to Dong Yuan. WINTRY GROVES AND LAYERED BANKS. Southern Tang dynasty, ca. 950. Hanging scroll, ink and color on silk. 59'6-5/8" × 3'9-7/8" (1.81 × 1.16 m). Attrib. Li Cheng (916-967), A Solitary Temple amid Clearing Mountain Peaks, Undated, Five Dynasties, Hanging Scroll, Ink and Slight Color on Silk, 111.8 x 56 cm, Nelson Gallery-Atkins Museum Ma Yuan (late 12th-early 13th century), On a Mountain Path in Spring, Undated, Southern Song Dynasty, Album Leaf, Ink and Slight Color on Silk, H: 27.4 cm, National Palace Museum at Taipei Ni Zan (1301-1374), The Rongxi Studio, 1372, Yuan Dynasty, Hanging scroll, Ink on Paper, 74.7 x 35.5 cm National Palace Museum at Taipei Korean Painting Traditions Goryeo, Joseon Periods Seated Willow-Branch Gwanse’eum Bosal (The Bodhisattva of Compassion). Goryeo dynasty, late 14th century. Hanging scroll, ink, colors, and gold pigment on silk. Height 62" (159.6 cm).
    [Show full text]
  • Tofukuji Monastery (Sorin Temple During the Muramachi Period)
    attributed to Sesshu Toyo Tofukuji Monastery (Sorin temple during the Muramachi period) During the Muromachi period, tatchu proliferated to such an THE SUTRA OF extent that the building of new compounds was prohibited from PERFECT AWAKENING time to time by the government. Records indicate that there once were one hundred and twenty tatchu in the Tofukuji and one hundred and sixtyfive in the Myoshinji. These compounds tended to become independent of the parent monastery, with their own FORTY-THIRD LECTURE land and resources, and many became the headquarters for Saturday, May 20th, 1939 doctrinal offshoots based on the special emphasis or teachings of the founder. "It is as though one smelted gold from the ore. Because of its detail and accuracy, this painting is one of the The gold was not produced by the process of smelting. prime sources of information on the disposition and architecture of It was originally contained in the ore. Zen monasteries during the Muromachi period. It is traditionally The quality was merely perfected by the process attributed to Sesshu (1420-1506), who may have been associated And it will not return to the ore again briefly with the Tofukuji... When the quality of pure gold has once been attained. Samsara and Nirvana, men in the world and the Buddhas, Are one and all like the flowers in the sky. getting crowded. One's thoughts and afflictions are also like phantoms. no coyotes.. Why should one be reproved for one's false thoughts? If one has completed one's attainment of this very mind One may seek Perfect Awakening!" A limited number of complete sets of Zen Notes SOKEI-AN SAYS: (from Vol.
    [Show full text]
  • Learning to Read Japanese Paintings by Carla Stansifer University of Colorado Boulder
    University of Colorado at Boulder Program for Teaching East Asia Center for Asian Studies 595 UCB Boulder, Colorado 80309-0595 Phone: 303-735-5122 Fax: 303-735-5126 Learning to Read Japanese Paintings by Carla Stansifer University of Colorado Boulder For the National Consortium for Teaching about Asia (NCTA) at the Program for Teaching East Asia, University of Colorado Boulder Glossary of Terms sumi-e: black ink + picture (Jpn); monochromatic painting kakemono: hanging + thing (Jpn); vertical scroll usually mounted on silk 7 basic elements of art: line, shape, form, space, texture, value, and color manga: involuntary/unrestrained + illustration (Jpn); graphic novels subject matter: whoever or whatever is depicted in a painting visual path: the imaginary line a viewer’s eye travels perspective: point of view, as perceived by the audience original intention: whatever or whoever primarily motivated the artist (e.g., religious, political, decorative, utilitarian or combination) Zen: a sect of Buddhism favored by the warrior class in 13th century hanko: official stamp, or seal Bibliography Resources for more information on Sesshu Toyo and Japanese painting. Books: Addiss, Stephen and Audrey Yoshiko Seo. How to Look at Japanese Art. New York: Abrams, 1996. Mason, Penelope. History of Japanese Art. New York: Pearson, 2004. Stanley-Baker, Joan. Japanese Art. Revised & Expanded Edition. London: Thames and Hudson, 2000. Stevens, John and Alice Rae Yelen. Zenga: Brushstrokes of Englightenment. New Orleans: New Orleans Museum of Art, 1991. Tanaka,
    [Show full text]
  • NHK Documentary Screening
    NHK Documentary Screening KIMONO REVOLUTION (Duration: 49 min.) Department of Japanese, Visva- The Bharati, is pleased to organize a Yoshimasa Takakura, a kimono shop owner from Fukuoka Prefecture has launched an unprecedented project: to produce elaborate kimono representing every single one screening of NHK documentary to of the 206 countries and regions around the world. His goal? In the 2020 Tokyo highlight some aspects of the myriad Olympics ... he'd like to see all the placard bearers wear the kimono at the opening and rich Japanese culture in ceremony. Takakura is fighting to save the declining kimono industry by calling on artisans from all around Japan to come together and create innovative designs. The collaboration with the Consulate program follows Takakura's quest to bring new life to an old tradition. General of Japan, Kolkata. All are cordially invited. Eiheiji : Inside Dogen’s Zen Monastery (Duration: 41 min.) Eiheiji is a world-famous Zen monastery located in the mountains 200 kilometers Date: 6th March, 2020 northeast of Kyoto. As the temple’s founder Dogen prescribed, the core practice in Time: 3 pm onwards zazen is simply sitting to calm the mind and examine one’s self. Most of the 150 monks in the monastery are in their 20’s. They live at the temple, devoting themselves Venue: Audio-Visual Room, to uninterrupted Zen practice. With unprecedented access inside this remarkable temple, where Dogen’s teachings have been practiced unchanged for over 770 years, New Bhasha-Vidya Building the program follows the monks’ lives over the course of 6 months. Sesshu’s World of Zen in Ink (Duration: 49 min.) Sesshu Toyo, a prolific 15th century artist, is called the father of Japanese ink painting.
    [Show full text]
  • ART a Legacy Spanning Two Millennia
    For more detailed information on Japanese government policy and other such matters, see the following home pages. Ministry of Foreign Affairs Website http://www.mofa.go.jp/ Web Japan http://web-japan.org/ ART A legacy spanning two millennia Scroll painting A scene from the 12th-century Tale of Genji Scrolls (Genji monogatari emaki), which portray events from the 11th-century novel Tale of Genji. National Treasure. © Tokugawa Art Museum iverse factors have contributed to the the beginning of the era, manufactured copper Ddevelopment of Japanese art. Both weapons, bronze bells, and kiln-fired ceramics. technologically and aesthetically, it has for Typical artifacts from the Kofun (Tumulus) many centuries been influenced by Chinese period (approximately A.D. 300 to A.D. 710) styles and cultural developments, some of that followed, are bronze mirrors, and clay which came via Korea. More recently, Western sculptures called haniwa, which were erected techniques and artistic values have also added outside of tombs. their impact. The simple stick figures drawn on dotaku, However, what emerged from this history bells produced in the Yayoi period, as well as of assimilated ideas and know-how from other the murals adorning the inside walls of tombs cultures is an indigenous expression of taste in the Kofun period, represent the origins of that is uniquely Japanese. Japanese painting. Haniwa Haniwa are unglazed earthenware sculptures The Influence of Buddhism that were paced on Ancient Times and around the great and China mounded tombs (kofun) The first settlers of Japan, the Jomon people of Japan's rulers during the 4th to 7th centuries.
    [Show full text]
  • Japanese Art After 1392
    COMPARISONS: 1) Japanese Art before 1392 not only influenced the further development of Japan's art and culture, but also that of Western civilizations. For example, many Impressionists in the 19th century employed techniques dominant in Japanese art. Specifically, Degas' "Morning Bath" in 1883 parallels the early print style hand scrolls of the upper class Japan, as previously seen in the Heian period’s “Scene from the Tale of Genji”. The lines and contours in the more contemporary piece mimic the “woman's hand” style of the Japanese scroll. The sharp diagonal of the bed is similar to the cutting and strict lines in Tale of Genji, though less in quantity and definition. The woman in Degas’s work has the same delicate black outline as the other figure, but the coloration of her skin added to shading and curvilinear volumes reveals the developed realism that the scroll lacks. While the Tale of Genji fully uses the blown away roof technique to make the viewer feel like they are looking straight down onto the scene, Degas only slightly elevates the angle and therefore reducing the flatness, but the Japanese influence is evident. 2) The Japanese dogu from the Jomon period of Prehistoric Japan hold several similarities with the Venus of Willendorf from the Paleolithic period in Europe. Although their purposes are debated, the exaggeration of certain features suggest their possible use as fertility figures. The Venus of Willendorf, with her exaggerated hips, featureless face, and defined breasts and pubic area suggest possible use as a fertility figure to pray for fertile harvests and good luck.
    [Show full text]
  • TNJR V1 2 2010 Compleet.Pdf
    The Netherlands-Japan Review ・ 日蘭評論 Redactie / Board of Editors Prof. Dr W.J. Boot (hoofdredacteur / editor-in-chief) Mr Drs P.A. de Hoog (eindredacteur / copy editor) Prof. Dr W.R. van Gulik Drs J.P.A. Kuijpers Redactie Adres/ Publishing Address SieboldHuis Postbus 11007 2301 EA Leiden Tel: +31-(0)71-5125539 Fax: +31-(0)71-5128063 Email: [email protected] Website: http://magazine.sieboldhuis.org © 2010, Leiden Zonder schriftelijk toestemming van de redactie is gehele of gedeeltelijke overname van artikelen, foto’s, en illustraties nadrukkelijk verboden. All rights reserved. Reproduction in whole or in part of articles and images without written permission by the publisher is prohibited. Designs by Roxane van Beek and Coen Zimmerman. 42 日蘭評論 ・ The Netherlands-Japan Review Contents The Netherlands-Japan Review ・ 日蘭評論 Inhoud / Contents Column: Bericht uit Tokyo - Rien ne van plus 44 Bas Valckx Verschuivende Perspectieven 46 Willem van Gulik Cha Zen ichi mi 64 Calligraphy by Arthur Witteveen Het verhaal van de zwerfhond 66 Isaka Yōko/ vertaling Frans Verwayen Priests, money and women: Religion in Seji kenbunroku 69 Mark Teeuwen 43 Volume 1, Nr. 2, Summer 2010 Bas Valckx Bericht uit Tokyo - Rien ne van plus Bas Valckx Onrust in de wereld van de vlietende schoonheid, of beter gezegd, schoonheden, want in Kabukichō werd in maart de eerste demonstratie van kyaba-jo (medewerker in een hostess bar) georganiseerd door de in december opgerichte vakbond voor deze beroepsgroep Cabauni (http:// ameblo.jp/cabauni/). 190 mensen waren op de been in Kabukichō en vroegen (paraderend?) aandacht voor de slechte werksituatie in hun industrie: sekuhara, achterstallig loon, boetes voor te laat op het werk komen, etc.
    [Show full text]