Questioning Oriental Aesthetics And Thinking
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The Oxford Handbook of Japanese Philosophy
| Author | : Bret W. Davis |
| Publisher | : Oxford Handbooks |
| Total Pages | : 841 |
| Release | : 2020 |
| Genre | : Philosophy |
| ISBN | : 0199945721 |
This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook, however the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title was published online.
New Essays in Japanese Aesthetics
| Author | : A. Minh Nguyen |
| Publisher | : Lexington Books |
| Total Pages | : 527 |
| Release | : 2017-12-29 |
| Genre | : Philosophy |
| ISBN | : 0739180827 |
This collection presents twenty-seven new essays in Japanese aesthetics by leading experts in the field. Beginning with an extended foreword by the renowned scholar and artist Stephen Addiss and a comprehensive introduction that surveys the history of Japanese aesthetics and the ways in which it is similar to and different from Western aesthetics, this groundbreaking work brings together a large variety of disciplinary perspectives—including philosophy, literature, and cultural politics—to shed light on the artistic and aesthetic traditions of Japan and the central themes in Japanese art and aesthetics. Contributors explore topics from the philosophical groundings for Japanese aesthetics and the Japanese aesthetics of imperfection and insufficiency to the Japanese love of and respect for nature and the paradoxical ability of Japanese art and culture to absorb enormous amounts of foreign influence and yet maintain its own unique identity. New Essays in Japanese Aesthetics will appeal not only to a wide range of humanities scholars but also to graduate and undergraduate students of Japanese aesthetics, art, philosophy, literature, culture, and civilization. Masterfully articulating the contributors’ Japanese-aesthetical concerns and their application to Japanese arts (including literature, theater, film, drawing, painting, calligraphy, ceramics, crafts, music, fashion, comics, cooking, packaging, gardening, landscape architecture, flower arrangement, the martial arts, and the tea ceremony), these engaging and penetrating essays will also appealto nonacademic professionals and general audiences. This seminal work will be essential reading for anyone interested in gaining a deeper understanding of Japanese aesthetics.
Contemporary Chinese Art, Aesthetic Modernity and Zhang Peili
| Author | : Paul Gladston |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 249 |
| Release | : 2019-10-17 |
| Genre | : Philosophy |
| ISBN | : 1350041998 |
In recent decades the previously assumed dominance within the international art world of western(ized) conceptions of aesthetic modernity has been challenged by a critically becalming diversification of cultural outlooks widely referred to as 'contemporaneity'. Contributing to that diversification are assertions within mainland China of essential differences between Chinese and western art. In response to the critical impasse posed by contemporaneity, Paul Gladston charts a historical relay of mutually formative interactions between the artworlds of China and the West as part of a new transcultural theory of artistic criticality. Informed by deconstructivism as well as syncretic Confucianism, Gladston extends this theory to a reading of the work of the artist Zhang Peili and his involvement with the Hangzhou-based art group, the Pond Association (Chi she). Revealed is a critical aesthetic productively resistant to any single interpretative viewpoint, including those of Chinese exceptionalism and the supposed immanence of deconstructivist uncertainty. Addressing art in and from the People's Republic of China as a significant aspect of post-West contemporaneity, Gladston provides a new critical understanding of what it means to be 'contemporary' and the profound changes taking place in the art world today.
China Pluperfect I
| Author | : Frank Vigneron |
| Publisher | : The Chinese University of Hong Kong Press |
| Total Pages | : 214 |
| Release | : 2022-07-01 |
| Genre | : Art |
| ISBN | : 9882372465 |
Initially based on a comparative study of Chinese and Euro-American art theory in the 18th and 19th centuries, this book examines how both cultures looked at their own past and their outside, i.e. what was construed as not belonging to their own cultural sphere, and how they devised new ways of adapting them into evolving cultural constructs. While the 17th century was still a time when the epistemological backgrounds of both civilizations were so profoundly different that nearly no dialogue was possible, the 18th century saw the emergence in both places of profound changes that would get them close enough to create the conditions for the beginning of a conversation. First quite superficial and taking shape mostly in the decorative arts, this process of rapprochement, while remaining chaotic and unpredictable, led to wider and more profound zones of contact throughout the late 19th and 20th centuries. Through the reinterpretations of each other’s cultural creations, these zones of contact grew wider as the conditions for globalization became more and more prevalent. Frank Vigneron observes and explores these changes through texts and the visual arts to reveal how these two civilizations, while keeping their own characteristics, managed to develop fruitful dialogues and create deeply intertwined cultures. As an example, the final chapter looks at contemporary Chinese calligraphy as an art that, even though it has no equivalent in Euro-America, successfully integrated cross-cultural theoretical elements, thus exemplifying how past and outside can combine into new artistic constructs.
Lost Histories
| Author | : Kirsten L. Ziomek |
| Publisher | : BRILL |
| Total Pages | : 429 |
| Release | : 2020-10-26 |
| Genre | : History |
| ISBN | : 1684175968 |
"A grandson’s photo album. Old postcards. English porcelain. A granite headstone. These are just a few of the material objects that help reconstruct the histories of colonial people who lived during Japan’s empire. These objects, along with oral histories and visual imagery, reveal aspects of lives that reliance on the colonial archive alone cannot. They help answer the primary question of Lost Histories: Is it possible to write the history of Japan’s colonial subjects? Kirsten Ziomek contends that it is possible, and in the process she brings us closer to understanding the complexities of their lives.Lost Histories provides a geographically and temporally holistic view of the Japanese empire from the early 1900s to the 1970s. The experiences of the four least-examined groups of Japanese colonial subjects—the Ainu, Taiwan’s indigenous people, Micronesians, and Okinawans—are the centerpiece of the book. By reconstructing individual life histories and following these people as they crossed colonial borders to the metropolis and beyond, Ziomek conveys the dynamic nature of an empire in motion and explains how individuals navigated the vagaries of imperial life."
Shirakaba and Japanese Modernism
| Author | : Erin Schoneveld |
| Publisher | : BRILL |
| Total Pages | : 274 |
| Release | : 2019-01-04 |
| Genre | : Art |
| ISBN | : 9004393633 |
Shirakaba and Japanese Modernism examines the most significant Japanese art and literary magazine of the early twentieth century, Shirakaba (White Birch, 1910–1923). In this volume Erin Schoneveld explores the fluid relationship that existed between different types of modern visual media, exhibition formats, and artistic practices embraced by the Shirakaba-ha (White Birch Society). Schoneveld provides a new comparative framework for understanding how the avant-garde pursuit of individuality during Japan’s Taishō period stood in opposition to state-sponsored modernism and how this played out in the emerging media of art magazines. This book analyzes key moments in modern Japanese art and intellectual history by focusing on the artists most closely affiliated with Shirakaba, including Takamura Kōtarō, Umehara Ryūzaburō, and Kishida Ryūsei, who selectively engaged with and transformed modernist idioms of individualism and self-expression to create a new artistic style that gave visual form to their own subjective reality. Drawing upon archival research that includes numerous articles, images, and exhibitions reviews from Shirakaba, as well as a complete translation of Yanagi Sōetsu’s seminal essay, “The Revolutionary Artist” (Kakumei no gaka), Schoneveld demonstrates that, contrary to the received narrative that posits Japanese modernism as merely derivative, the debate around modernism among Japan’s early avant-garde was lively, contested, and self-reflexive.
The Power of Nonviolence
| Author | : Richard Bartlett Gregg |
| Publisher | : Cambridge University Press |
| Total Pages | : 307 |
| Release | : 2018-11-08 |
| Genre | : History |
| ISBN | : 1107156009 |
This definitive edition of the 1959 classic text includes a major new introduction by a leading political theorist, James Tully.
An Asian Frontier
| Author | : Robert Oppenheim |
| Publisher | : U of Nebraska Press |
| Total Pages | : 448 |
| Release | : 2016-06 |
| Genre | : History |
| ISBN | : 0803288832 |
In the nineteenth century the predominant focus of American anthropology centered on the native peoples of North America, and most anthropologists would argue that Korea during this period was hardly a cultural area of great anthropological interest. However, this perspective underestimates Korea as a significant object of concern for American anthropology during the period from 1882 to 1945—otherwise a turbulent, transitional period in Korea’s history. An Asian Frontier focuses on the dialogue between the American anthropological tradition and Korea, from Korea’s first treaty with the United States to the end of World War II, with the goal of rereading anthropology’s history and theoretical development through its Pacific frontier. Drawing on notebooks and personal correspondence as well as the publications of anthropologists of the day, Robert Oppenheim shows how and why Korea became an important object of study—with, for instance, more published about Korea in the pages of American Anthropologist before 1900 than would be seen for decades after. Oppenheim chronicles the actions of American collectors, Korean mediators, and metropolitan curators who first created Korean anthropological exhibitions for the public. He moves on to examine anthropologists—such as Aleš Hrdlicka, Walter Hough, Stewart Culin, Frederick Starr, and Frank Hamilton Cushing—who fit Korea into frameworks of evolution, culture, and race even as they engaged questions of imperialism that were raised by Japan’s colonization of the country. In tracing the development of American anthropology’s understanding of Korea, Oppenheim discloses the legacy present in our ongoing understanding of Korea and of anthropology’s past.
Japan Fluxus
| Author | : Luciana Galliano |
| Publisher | : Rowman & Littlefield |
| Total Pages | : 177 |
| Release | : 2018-11-29 |
| Genre | : Music |
| ISBN | : 1498578268 |
Fluxus was a pivotal movement in redefining art’s role and the artist’s identity in the contemporary world, so that its aesthetics – as well as many of its gimmicks – have become so deeply embedded in our social setting that we now no longer realize where they originally came into being. Fluxus has been described as the most radical and experimental art movement of the 1960s, challenging conventional thinking on art and culture. It had a central role in the birth of such key contemporary art forms as concept art, installation, performance art, intermedia and video. The amount of Fluxus-related scholarly activity has increased since 2009, when New York’s Museum of Modern Art acquired the world’s largest collection of Fluxus works, the Lila and Gilbert Silverman Collection, and this in turn led to a series of exhibitions, first at MoMA and subsequently at other institutions worldwide. Focusing on Japanese artists involved in Fluxus, the book proposes a new understanding of this movement which, in spite of its anti-academicism, its aversion to authorial identity and the ephemeral character of its output, is “the best documented and best cross-indexed art movement in history,” (Nam June Paik 1994, 77). The book presents postwar Japanese radical avant-garde and the related and highly refined discourse and debate behind it, enlightening crucial if less known aspects of (local) Fluxus history and theory.
