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Art and War in Japan and its Empire: 1931-1960 features twenty essays that critically study artistic response to the Fifteen-Year War (1931-1945) in Japan, Taiwan, Korea, Manchuria, and China in the wartime and postwar period.
Book Synopsis Art and War in Japan and Its Empire, 1931-1960 by : Asato Ikeda
Download or read book Art and War in Japan and Its Empire, 1931-1960 written by Asato Ikeda and published by . This book was released on 2013 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: Art and War in Japan and its Empire: 1931-1960 features twenty essays that critically study artistic response to the Fifteen-Year War (1931-1945) in Japan, Taiwan, Korea, Manchuria, and China in the wartime and postwar period.
"The early seventeenth century witnessed a dramatic upsurge of proposals for change, in particular in religion, politics, and knowledge. In Reformation, Revolution, Renovation, Lyke de Vries offers an account of the Rosicrucian manifestos in this transformative context. She focuses on their call for a general reformation and traces it to medieval and early modern predecessors. The manifestos, commonly portrayed as either Lutheran or esoteric, are here analysed as revolutionary mission statements, which challenged established religious and academic authorities, drawing on various heterodox notions and radical traditions. Emphasising the universal character of these manifestos in the first book-length study of the topic, Lyke de Vries convincingly shows how their authors channeled early modern sentiments into a message of universal change, which provoked numerous strong responses from early modern readers"--
Book Synopsis Reformation, Revolution, Renovation by : Lyke de Vries
Download or read book Reformation, Revolution, Renovation written by Lyke de Vries and published by Universal Reform. This book was released on 2021 with total page 444 pages. Available in PDF, EPUB and Kindle. Book excerpt: "The early seventeenth century witnessed a dramatic upsurge of proposals for change, in particular in religion, politics, and knowledge. In Reformation, Revolution, Renovation, Lyke de Vries offers an account of the Rosicrucian manifestos in this transformative context. She focuses on their call for a general reformation and traces it to medieval and early modern predecessors. The manifestos, commonly portrayed as either Lutheran or esoteric, are here analysed as revolutionary mission statements, which challenged established religious and academic authorities, drawing on various heterodox notions and radical traditions. Emphasising the universal character of these manifestos in the first book-length study of the topic, Lyke de Vries convincingly shows how their authors channeled early modern sentiments into a message of universal change, which provoked numerous strong responses from early modern readers"--
Maki Kaneko reexamines the iconic male figures created, performed, and/or consumed by several male artists of yōga (Western-style painting) between 1930 and 1950 through the lenses of the politics of gender, race, and the body in late Imperial Japan.
Book Synopsis Mirroring the Japanese Empire by : Maki Kaneko
Download or read book Mirroring the Japanese Empire written by Maki Kaneko and published by BRILL. This book was released on 2016-04-26 with total page 211 pages. Available in PDF, EPUB and Kindle. Book excerpt: Maki Kaneko reexamines the iconic male figures created, performed, and/or consumed by several male artists of yōga (Western-style painting) between 1930 and 1950 through the lenses of the politics of gender, race, and the body in late Imperial Japan.
This book examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time—Yokoyama Taikan, Yasuda Yukihiko, Uemura Shōen, and Fujita Tsuguharu—through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country’s cultural authenticity. She highlights the politics of “apolitical” art and challenges the postwar labeling of battle paintings—those depicting scenes of war and combat—as uniquely problematic. Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan’s “national body” and spirituality, in contrast to the modern West’s individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shōen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan. Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.
Book Synopsis The Politics of Painting by : Asato Ikeda
Download or read book The Politics of Painting written by Asato Ikeda and published by University of Hawaii Press. This book was released on 2018-05-31 with total page 165 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time—Yokoyama Taikan, Yasuda Yukihiko, Uemura Shōen, and Fujita Tsuguharu—through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country’s cultural authenticity. She highlights the politics of “apolitical” art and challenges the postwar labeling of battle paintings—those depicting scenes of war and combat—as uniquely problematic. Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan’s “national body” and spirituality, in contrast to the modern West’s individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shōen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan. Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.
The conventional understanding of Japanese wartime ideology has for years been summed up by just a few words: anti-modern, spiritualist, and irrational. Yet such a cut-and-dried picture is not at all reflective of the principles that guided national policy from 1931–1945. Challenging the status quo, Constructing East Asia examines how Japanese intellectuals, bureaucrats, and engineers used technology as a system of power and mobilization—what historian Aaron Moore terms a "technological imaginary"—to rally people in Japan and its expanding empire. By analyzing how these different actors defined technology in public discourse, national policies, and large-scale infrastructure projects, Moore reveals wartime elites as far more calculated in thought and action than previous scholarship allows. Moreover, Moore positions the wartime origins of technology deployment as an essential part of the country's national policy and identity, upending another predominant narrative—namely, that technology did not play a modernizing role in Japan until the "economic miracle" of the postwar years.
Book Synopsis Constructing East Asia by : Aaron Stephen Moore
Download or read book Constructing East Asia written by Aaron Stephen Moore and published by Stanford University Press. This book was released on 2013-06-19 with total page 329 pages. Available in PDF, EPUB and Kindle. Book excerpt: The conventional understanding of Japanese wartime ideology has for years been summed up by just a few words: anti-modern, spiritualist, and irrational. Yet such a cut-and-dried picture is not at all reflective of the principles that guided national policy from 1931–1945. Challenging the status quo, Constructing East Asia examines how Japanese intellectuals, bureaucrats, and engineers used technology as a system of power and mobilization—what historian Aaron Moore terms a "technological imaginary"—to rally people in Japan and its expanding empire. By analyzing how these different actors defined technology in public discourse, national policies, and large-scale infrastructure projects, Moore reveals wartime elites as far more calculated in thought and action than previous scholarship allows. Moreover, Moore positions the wartime origins of technology deployment as an essential part of the country's national policy and identity, upending another predominant narrative—namely, that technology did not play a modernizing role in Japan until the "economic miracle" of the postwar years.
This book offers a reassessment of how "matter" – in the context of art history, criticism, and architecture – pursued a radical definition of "multiplicity", against the dominant and hierarchical tendencies underwriting post-fascist Japan. Through theoretical analysis of works by artists and critics such as Okamoto Taro, Hanada Kiyoteru, Kawara On, Isozaki Arata, Kawaguchi Tatsuo, and Nakahira Takuma, this highly illustrated text identifies formal oppositions frequently evoked in the Japanese avant-garde, between cognition and image, self and other, human and thing, and one and many, in mediums ranging from painting and photography, to sculpture and architecture. In addition to an "aesthetics of separation" which refuses the integrationist implications of the human, the author proposes the "anthropofugal" – meaning fleeing the human – as an original concept through which to understand matter in the epistemic universe of the postwar Japanese avant-garde. Chapters in this publication offer critical insights into how artists and critics grounded their work in active disengagement, to advance an ethics of nondominance. Avant-Garde Art and Nondominant Thought in Postwar Japan will appeal to students and scholars of Japanese studies, art history, and visual cultures more widely.
Book Synopsis Avant-Garde Art and Non-Dominant Thought in Postwar Japan by : K. Yoshida
Download or read book Avant-Garde Art and Non-Dominant Thought in Postwar Japan written by K. Yoshida and published by Routledge. This book was released on 2020-11-15 with total page 257 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book offers a reassessment of how "matter" – in the context of art history, criticism, and architecture – pursued a radical definition of "multiplicity", against the dominant and hierarchical tendencies underwriting post-fascist Japan. Through theoretical analysis of works by artists and critics such as Okamoto Taro, Hanada Kiyoteru, Kawara On, Isozaki Arata, Kawaguchi Tatsuo, and Nakahira Takuma, this highly illustrated text identifies formal oppositions frequently evoked in the Japanese avant-garde, between cognition and image, self and other, human and thing, and one and many, in mediums ranging from painting and photography, to sculpture and architecture. In addition to an "aesthetics of separation" which refuses the integrationist implications of the human, the author proposes the "anthropofugal" – meaning fleeing the human – as an original concept through which to understand matter in the epistemic universe of the postwar Japanese avant-garde. Chapters in this publication offer critical insights into how artists and critics grounded their work in active disengagement, to advance an ethics of nondominance. Avant-Garde Art and Nondominant Thought in Postwar Japan will appeal to students and scholars of Japanese studies, art history, and visual cultures more widely.
This groundbreaking book examines how the notion of “the object” was transformed in Japanese experimental art during a time of rapid social, economic, and environmental change. Reviving the legacies of the historical avant-garde, Japanese artists and intellectuals of the 1960s formulated an aesthetics of disaffection through which they sought to address the stalemate of political and aesthetic representation. Ignacio A. Adriasola Muñoz draws from psychoanalytic theories of melancholia to examine the implications of such an approach, tracing a genealogy of disaffection within modernist discourse. By examining the discursive practices of artists working across a wide range of media, and through a close analysis of artwork, philosophical debates, artist theories, and critical accounts, Adriasola Muñoz shows how negativity became an efficacious means of addressing politics as a source for the creative act of undoing. In examining ideas of the object advanced by artists and intellectuals both in writing and as part of their artwork, this book brings discussions in critical art history to bear on the study of art in Japan. It will be of interest to art historians specializing in modernism, the international avant-garde, Japanese art, and the history of photography.
Book Synopsis Fragment, Image, and Absence in 1960s Japan by : Ignacio A. Adriasola Muñoz
Download or read book Fragment, Image, and Absence in 1960s Japan written by Ignacio A. Adriasola Muñoz and published by Penn State Press. This book was released on 2022-11-28 with total page 263 pages. Available in PDF, EPUB and Kindle. Book excerpt: This groundbreaking book examines how the notion of “the object” was transformed in Japanese experimental art during a time of rapid social, economic, and environmental change. Reviving the legacies of the historical avant-garde, Japanese artists and intellectuals of the 1960s formulated an aesthetics of disaffection through which they sought to address the stalemate of political and aesthetic representation. Ignacio A. Adriasola Muñoz draws from psychoanalytic theories of melancholia to examine the implications of such an approach, tracing a genealogy of disaffection within modernist discourse. By examining the discursive practices of artists working across a wide range of media, and through a close analysis of artwork, philosophical debates, artist theories, and critical accounts, Adriasola Muñoz shows how negativity became an efficacious means of addressing politics as a source for the creative act of undoing. In examining ideas of the object advanced by artists and intellectuals both in writing and as part of their artwork, this book brings discussions in critical art history to bear on the study of art in Japan. It will be of interest to art historians specializing in modernism, the international avant-garde, Japanese art, and the history of photography.
How would artistic practice contribute to political change in post–World War II Japan? How could artists negotiate the imbalanced global dynamics of the art world and also maintain a sense of aesthetic and political authenticity? While the contemporary art world has recently come to embrace some of Japan’s most daring postwar artists, the interplay of art and politics remains poorly understood in the Americas and Europe. The Stakes of Exposure fills this gap and explores art, visual culture, and politics in postwar Japan from the 1950s to the 1970s, paying special attention to how anxiety and confusion surrounding Japan’s new democracy manifested in representations of gender and nationhood in modern art. Through such pivotal postwar episodes as the Minamata Disaster, the Lucky Dragon Incident, the budding antinuclear movement, and the ANPO protests of the 1960s, The Stakes of Exposure examines a wide range of issues addressed by the period’s prominent artists, including Tanaka Atsuko and Shiraga Kazuo (key members of the Gutai Art Association), Katsura Yuki, and Nakamura Hiroshi. Through a close study of their paintings, illustrations, and assemblage and performance art, Namiko Kunimoto reveals that, despite dissimilar aesthetic approaches and divergent political interests, Japanese postwar artists were invested in the entangled issues of gender and nationhood that were redefining Japan and its role in the world. Offering many full-color illustrations of previously unpublished art and photographs, as well as period manga, The Stakes of Exposure shows how contention over Japan’s new democracy was expressed, disavowed, and reimagined through representations of the gendered body.
Book Synopsis The Stakes of Exposure by : Namiko Kunimoto
Download or read book The Stakes of Exposure written by Namiko Kunimoto and published by U of Minnesota Press. This book was released on 2017-02-21 with total page 419 pages. Available in PDF, EPUB and Kindle. Book excerpt: How would artistic practice contribute to political change in post–World War II Japan? How could artists negotiate the imbalanced global dynamics of the art world and also maintain a sense of aesthetic and political authenticity? While the contemporary art world has recently come to embrace some of Japan’s most daring postwar artists, the interplay of art and politics remains poorly understood in the Americas and Europe. The Stakes of Exposure fills this gap and explores art, visual culture, and politics in postwar Japan from the 1950s to the 1970s, paying special attention to how anxiety and confusion surrounding Japan’s new democracy manifested in representations of gender and nationhood in modern art. Through such pivotal postwar episodes as the Minamata Disaster, the Lucky Dragon Incident, the budding antinuclear movement, and the ANPO protests of the 1960s, The Stakes of Exposure examines a wide range of issues addressed by the period’s prominent artists, including Tanaka Atsuko and Shiraga Kazuo (key members of the Gutai Art Association), Katsura Yuki, and Nakamura Hiroshi. Through a close study of their paintings, illustrations, and assemblage and performance art, Namiko Kunimoto reveals that, despite dissimilar aesthetic approaches and divergent political interests, Japanese postwar artists were invested in the entangled issues of gender and nationhood that were redefining Japan and its role in the world. Offering many full-color illustrations of previously unpublished art and photographs, as well as period manga, The Stakes of Exposure shows how contention over Japan’s new democracy was expressed, disavowed, and reimagined through representations of the gendered body.
"Gas Mask Nation explores Japanese daily life during the widespread culture of civil defense that emerged through fifteen years of war, beginning with Japan's invasion of Manchuria in 1931 and only ending with Japan's decisive defeat in WWII. This fifteen-year period involved intense social mobilization and the militarization of citizens. As in nearly every war since the invention of the airplane, surveillance, secrecy, and physical safety became visual symbols of national preparedness and anxiety. Everybody was vulnerable, always. And everybody had a role to play. Prevailing scholarship tends to portray the war years in Japan as a landscape of privation where consumer and popular culture were suppressed under the massive censorship of the war machine. Weisenfeld claims otherwise: while not denying the horrors of war, she shows that pleasure, desire, wonder, creativity, and humor were all still abundantly present. Even amidst the fear, tasty caramels were sold to children with paper gas masks as promotional giveaways, and popular magazines featured everything from attractive models in the latest civil defense fashions to futuristic wartime weapons. Gas Mask Nation examines the multilayered construction of an anxious yet perversely pleasurable culture of civil air defense through a diverse range of art works and media including experimental and documentary photographs, newsreels, popular magazine illustrations, advertising, cartoons, and state propaganda"--
Book Synopsis Gas Mask Nation by : Gennifer Weisenfeld
Download or read book Gas Mask Nation written by Gennifer Weisenfeld and published by University of Chicago Press. This book was released on 2023-02-24 with total page 409 pages. Available in PDF, EPUB and Kindle. Book excerpt: "Gas Mask Nation explores Japanese daily life during the widespread culture of civil defense that emerged through fifteen years of war, beginning with Japan's invasion of Manchuria in 1931 and only ending with Japan's decisive defeat in WWII. This fifteen-year period involved intense social mobilization and the militarization of citizens. As in nearly every war since the invention of the airplane, surveillance, secrecy, and physical safety became visual symbols of national preparedness and anxiety. Everybody was vulnerable, always. And everybody had a role to play. Prevailing scholarship tends to portray the war years in Japan as a landscape of privation where consumer and popular culture were suppressed under the massive censorship of the war machine. Weisenfeld claims otherwise: while not denying the horrors of war, she shows that pleasure, desire, wonder, creativity, and humor were all still abundantly present. Even amidst the fear, tasty caramels were sold to children with paper gas masks as promotional giveaways, and popular magazines featured everything from attractive models in the latest civil defense fashions to futuristic wartime weapons. Gas Mask Nation examines the multilayered construction of an anxious yet perversely pleasurable culture of civil air defense through a diverse range of art works and media including experimental and documentary photographs, newsreels, popular magazine illustrations, advertising, cartoons, and state propaganda"--
In The Curious Case of the Camel in Modern Japan, Ayelet Zohar addresses issues of Orientalism, colonialism, and exoticism in modern Japan, through images of camels – the epitome of Otherness, and a metonymy for Asia in the Japanese imagination.
Book Synopsis The Curious Case of the Camel in Modern Japan by : Ayelet Zohar
Download or read book The Curious Case of the Camel in Modern Japan written by Ayelet Zohar and published by BRILL. This book was released on 2022-08-22 with total page 204 pages. Available in PDF, EPUB and Kindle. Book excerpt: In The Curious Case of the Camel in Modern Japan, Ayelet Zohar addresses issues of Orientalism, colonialism, and exoticism in modern Japan, through images of camels – the epitome of Otherness, and a metonymy for Asia in the Japanese imagination.
