Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-tf8b9 Total loading time: 0 Render date: 2024-11-22T14:16:01.901Z Has data issue: false hasContentIssue false

22 - Modern Art in Japan and Transnational Exchange

from Part III - Social Practices and Cultures in Modern Japan

Published online by Cambridge University Press:  19 May 2023

Laura Hein
Affiliation:
Northwestern University, Illinois
Get access

Summary

The twenty-four accessible and thought-provoking essays in this volume present innovative new scholarship on Japan’s modern history, including its imperial past and transregional entanglements. Drawing on the latest Japanese and English-language scholarship, it highlights Japan’s distinctiveness as an extraordinarily fast-changing place. Indeed, Japan provides a ringside seat to all the big trends of modern history. Japan was the first non-Western society to become a modern nation and empire, to industrialize, to wage modern war on a vast scale, and to deliver a high standard of living to virtually all its citizens. Because the Japanese so determinedly acted to reshape global hierarchies, their modern history was incredibly destabilizing for the world. This intense dynamism has powered a variety of debates and conflicts, both at home and with people and places beyond Japan’s shores. Put simply, Japan has packed a lot of history into less than two centuries.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Akiyama, Kunio. “Honnendo kirokuga ni tsuite.” Bijutsu, May 1944.Google Scholar
Berry, Paul, and Morioka, Michiyo. Literati Modern: Bunjinga from Late Edo to Twentieth-Century Japan. Seattle: University of Washington Press, 2008.Google Scholar
Brown, Kendall H.Out of the Dark Valley: Japanese Woodblock Prints and War, 1937–1945.” In Ikeda, Tiampo, and McDonald, Art and War in Japan, 209–28.Google Scholar
Brown, Kendall H., and Minichiello, Sharon A.. Taisho Chic: Japanese Modernity, Nostalgia, and Deco. Honolulu: Honolulu Academy of Arts, 2005.Google Scholar
Bryson, Norman. “Westernizing Bodies: Women, Art, and Power in Meiji Yōga.” In Gender and Power in the Japanese Visual Field, edited by Bryson, Norman, Mostow, Joshua S., and Graybill, Maribeth, 89118. Honolulu: University of Hawai‘i Press, 2003.Google Scholar
Conant, Ellen P., ed. Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art. Honolulu: University of Hawai‘i Press, 2006.Google Scholar
Edwards, Walter. “Forging Tradition for a Holy War: The ‘Hakkō Ichiu’ Tower in Miyazaki and Japanese Wartime Ideology.Journal of Japanese Studies 29, no. 2 (2003): 289324.Google Scholar
Fogel, Joshua A., ed. The Role of Japan in Modern Chinese Art. Berkeley: University of California Press, 2013.Google Scholar
“Furansu bijutsu wa doko e iku.” Mizue, August 1940.Google Scholar
Guha-Thakurta, Tapati. The Making of a New “Indian Art”: Artists, Aesthetics and Nationalism in Colonial India 1850–1922. Cambridge: Cambridge University Press, 1992.Google Scholar
Guth, Christine M.E.The Divine Boy in Japanese Art.” Monumenta Nipponica 42, no. 1 (Spring 1987): 123.Google Scholar
Hirase, Reita. “War and Bronze Sculpture.” In Ikeda, Tiampo, and McDonald, Art and War in Japan, 229–40.Google Scholar
Ikeda, Asato. “Fujita Tsuguharu Retrospective 2006: Resurrection of a Former Official War Painter.” Review of Japanese Culture and Society 21 (2009): 97115.Google Scholar
Ikeda, Asato. “Japan’s Haunting War Art: Contested War Memories and Art Museums.disClosure: A Journal of Social Theory 18 (2009): 532.Google Scholar
Ikeda, Asato. The Politics of Painting: Fascism and Japanese Art during the Second World War. Honolulu: University of Hawai‘i Press, 2018.Google Scholar
Ikeda, Asato, Tiampo, Ming, and McDonald, Aya Louisa, eds. Art and War in Japan and Its Empire 1931–1960. Leiden: Brill, 2012.Google Scholar
Ikeda, Shinobu. “The Allure of a ‘Woman in Chinese Dress.’” In Performing “Nation”: Gender Politics in Literature, Theater, and the Visual Arts of China and Japan, 1880–1940, edited by Croissant, Doris, Yeh, Catherine Vance, and Mostow, Joshua S., 347–82. Leiden: Brill, 2008.Google Scholar
Kawasaki, Katsu. “Hōshuku-ten ni yosu.” Tōei, December 1940.Google Scholar
Kawata, Akihisa and Tan’o, Yasunori. Imēji no naka no sensō: Nisshin, nichiro sensō kara reisen made. Iwanami Shoten, 1996.Google Scholar
Khee, Joan. “Contemporary Art in Early Colonial Korea: The Self Portraits of Ko Hui-dong.Art History 36, no. 2 (2013): 392417.Google Scholar
Kikuchi, Yuko, ed. Refracted Modernity: Visual Culture and Identity in Colonial Taiwan. Honolulu: University of Hawai‘i Press, 2007.Google Scholar
Kim, Hye-sin. Kankoku kindai bijutsu kenkyū: Shokuminchiki Chōsen bijutsu tenrankai ni miru ibunka shihai to bunka hyōshō. Buryukke, 2005.Google Scholar
“Kokubō kokka to bijutsu: Gaka wa nani o subekika.” Mizue, January 1941.Google Scholar
Kuboshima, Sei’ichirō. Mugonkan nōto. Shūeisha, 2005.Google Scholar
McDonald, Aya Louisa. “Fujita Tsuguharu: An Artist of the Holy War Revisited.” In Ikeda, Tiampo, and McDonald, Art and War in Japan, 169–90.Google Scholar
Menzies, Jackie, ed. Modern Boy, Modern Girl: Modernity in Japanese Art, 1910–1935. Sydney: Art Gallery of New South Wales, 1998.Google Scholar
Mitter, Partha. Art and Nationalism in Colonial India 1850–1922. Cambridge: Cambridge University Press, 1994.Google Scholar
Nagashima, Keiya. “Taishō Shōwa senzenki ni okeru Iwami Masami no gafū henka ni tsuite.” Niigata kindai bijutsukan kenkyū kiyō 9 (2010): 1725.Google Scholar
Rimer, J. Thomas, and Takashina, Shūji. Paris in Japan: The Japanese Encounter with European Painting. St. Louis, MO: Washington University Press, 1987.Google Scholar
Sandler, Mark H.The Living Artist: Matsumoto Shunsuke’s Reply to the State.Art Journal 55, no. 3 (1996): 7482.Google Scholar
Satō, Dōshin. Modern Japanese Art and the Meiji State: The Politics of Beauty. Translated by Hiroshi Nara. Los Angeles: Getty Research Institute, 2011.Google Scholar
Screech, Timon. Sex and the Floating World: Erotic Images in Japan, 1700–1820. London: Reaktion, 1999.Google Scholar
Szostak, John D. Painting Circles: Tsuchida Bakusen and Nihonga Collectives in Early Twentieth-Century Japan. Leiden: Brill, 2013.Google Scholar
Tanaka, Stefan. “Imaging History: Inscribing Belief in the Nation.Journal of Asian Studies 53, no. 1 (1995): 2444.Google Scholar
Tiampo, Ming. Gutai: Decentering Modernism. Chicago: University of Chicago Press, 2011.Google Scholar
Tomii, Reiko. Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan. Cambridge, MA: MIT Press, 2018.Google Scholar
Uemura, Shōen. Seibishō. Kōdansha, 1977 [1943].Google Scholar
Volk, Alicia. In Pursuit of Universalism: Yorozu Tetsugorō and Japanese Modern Art. Berkeley: University of California Press, 2010.Google Scholar
Wattles, Miriam. “The 1909 Ryūtō and the Aesthetics of Affectivity.” Art Journal 55, no. 3 (September 1996): 4856.Google Scholar
Weisenfeld, Gennifer. MAVO: Japanese Artists and the Avant-Garde, 1905–1931. Berkeley: University of California Press, 2002.Google Scholar
Winther-Tamaki, Bert. Art in the Encounter of Nations: Japanese and American Artists in the Early Postwar Years. Honolulu: University of Hawai‘i Press, 2001.Google Scholar
Winther-Tamaki, Bert. Maximum Embodiment: Yoga, the Western Painting of Japan, 1912–1955. Honolulu: University of Hawai‘i Press, 2012.Google Scholar
Wong, Aida Yuen. “Art of Non-Resistance: Elitism, Fascist Aesthetics, and the Taiwanese Painter Lin Chih-chu.” In Ikeda, Tiampo, and McDonald, Art and War in Japan, 305–24.Google Scholar
Wong, Aida Yuen. “The East, Nationalism, and Taishō Democracy: Naitō Konan’s History of Chinese Painting.Sino-Japanese Studies 11, no. 2 (1999): 323.Google Scholar
Wong, Aida Yuen. “A New Life for Literati Painting in the Twentieth Century: Eastern Art and Modernity, A Transcultural Narrative?Artibus Asiae 60, no. 2 (2000): 297326.Google Scholar
Wong, Aida Yuen. Parting the Mist: Discovering Japan and the Rise of National-Style Painting in Modern Japan. Honolulu: University of Hawai‘i Press, 2006.Google Scholar
Yamanashi, Toshio. Egakareta rekishi: Nihon kindai to “rekishiga” no jiba. Buryukke, 2005.Google Scholar
Yamanouchi, Ichirō. “Sakusen kirokuga no ari kata.” Bijutsu, May 1944.Google Scholar
Yanagi, Ryō. “O̅inaru yashin o mote.” Bijutsu, May 1944.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×