This course is a selective survey of major developments in Japanese visual cultures (art and architecture). Particular emphasis is placed on the relationship between art and history, religion, and literature of pre- and early modern Japan and some contemporary examples. While the course moves somewhat chronologically, it also demonstrates fluidity between traditions of the distant past and their modern manifestations. The course examines themes such as the creation of religious images and spaces; the process of picturing political and economic authority; the social identity of artists and workshop production; the elite and commoner patronage and consumption; the use and re-use of the visual past to promote ideological claims; gender and representation; and the impact of foreign art in Japan. It also addresses issues specific to history of art and the sociology of art in order to accommodate students who are unfamiliar with these academic disciplines.
Prerequisites:
None
Attendance policy:
Attendance to all class meetings is required for all IES Abroad Area Studies courses. The three-hour format for classes makes missing a single class equivalent to missing a full week during a regular semester. Therefore, students are permitted a maximum of one unexcused absence. Additional unexcused absences will result in a penalty of one of letter grade from your final grade, for each additional absence—i.e. two missed classes turns an A into a B, three turns it into a C, and so on.
Learning outcomes:
By the end of the course students will be able to:
Demonstrate a good grasp of the historical development of Japanese art and its connections to social and wider cultural and technological developments
Analyze and report on the visual arts
Present, debate, and critique in a group setting
Method of presentation:
Lectures, discussions, student presentations, field study excursions.
Required work and form of assessment:
1. Class preparation and participation (20%): Students are expected to attend all 12 meetings with adequate preparation to actively participate in discussions. Students are required to write a 100-200 word summary/response for one of the required readings for each session and a brief oral report on sites visited during the week appropriate to the topic and submit their response paper to the instructor at the class meeting. Students are asked to lead some class discussions.
2. Field study report and presentation (20%): One session will take place at the Tokyo National Museum and one at the Tokyo National Museum of Modern Art. Assignments specific to this trip will be given and graded.
3. Mid-term exam (30%)
4. Final research paper and presentation (30%): Students are asked to write an in-depth study of an object or a series of objects related to eras and areas covered in the course (10-12 pages). Students are encouraged to think about the topic of their paper early, as paper topics and preliminary bibliography will be required for submission on November 9th. Each student will make a brief presentation on his/her paper topic and the class will ask questions, offer suggestions, and provide feedback to help presenters develop their ideas. Students will present their final papers with visual aid (slide/power point/handouts) during the last class session. Each student will be responsible for presenting one’s own paper and responding to another class member’s paper.
Note:
• Recommended readings are not included in the course reader
• Copies of the required Readings that are not in this course reader will be provided
• The readings for the first 2 weeks are not included in the course reader
content:
Session 1— Course introduction
Brief overview of course content. Introduction of visual resources and texts used in the course. Recommended museums and galleries in the greater Tokyo area in addition to those that we will be visiting during the course.
Session 2— Visualizing Faith
Examine topics integral to an understanding of Buddhist art and architecture in Japan by studying temple sites and architectural forms, Buddhist iconography and icons, and ritual practices.
Required reading
James Dobbins, “Buddhism in Japan,” in, Seattle Art Museum, ed., A Thousand Cranes (San Francisco: Chronicle Books, 1987), pp. 25-41.
James H. Foard, “Ritual in the Buddhist Temples of Japan,” in, Katonah Museum of Art, Objects as Insight: Japanese Buddhist Art and Ritual (Katonah: Katonah Museum of Art, 1995), pp. 12-17.
Bernard Faure, “The Buddhist Icon and the Modern Gaze,” in, Critical Inquiry vol. 24, no. 3 (Spring 1998), pp. 768-792, 811-813.
Recommended reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 38-42, 47-59, 62-80, 99-108, 165-176, 193-194.
Elizabeth ten Grotenhuis, Japanese Mandalas: Representations of Sacred Geography, (Honolulu: University of Hawaii Press, 1999).
Session 3— Illustrating Narratives
Explore various formats of Japanese paintings by paying a special attention to visual representations that recount narratives. Investigate issues such as text-image relationship and cross-referencing between literature and art.
Required reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 137-144. Mason is not included in the reader. Please find it at IES libraries.
Murasaki Shikibu, The Tale of Genji, Royall Tyler, trans. (New York: Viking, 2001), pp. xi-xxiv, 1-
18, 53-109,
Recommended reading
Miyeko Murase, Iconography of the Tale of Genji: Genji monogatari ekotoba (New York: Weatherhill, 1983).
Julia Meech-Pekarik, “The Artist’s View of Ukifune,” in Andrew Pekarik , ed., Ukifune: Love in The
Tale of Genji (New York: Columbia University Press, 1982), pp. 173-215.
Session 4— Field Study-- Tokyo National Museum, Ueno
Consider concepts such as high vs. low, functional vs. decorative, and religious vs. secular art using objects on permanent view. Students will be asked to write a short paper using a specific object to further evaluate these binaries.
Session 5— Picturing political authority
Explore how political authority is articulated in art and architecture of medieval and early modern Japan.
Required reading
William H. Coaldrake, “Nijo Castle and the Psychology of Architectural Intimidation,” in,
Architecture and Authority in Japan (Londaon: Routledge, 1996), pp. 138-162.
Mathew McKelway, “In or Out of the Capital? Reading Point of View in Rakuchu Rakugai Zu: The Case of the Sanjo Version,” in, Transactions of the International Conference of Eastern Studies XL (1995), pp. 100-118.
Recommended reading
Kendall H. Brown, The Politics of Reclusion: Painting and Power in Momoyama Japan (Honolulu: University of Hawaii Press, 1997).
Karen M. Gerhart, The Eyes of Power: Art and Early Tokugawa Authority (Honolulu: University of Hawaii Press, 1999).
Paul Varley, “The Country Unified,” in, Japanese Culture, 4th ed., (Honolulu: University of Hawaii Press, 2000), pp. 140-163.
Mary Elizabeth Berry, “Conclusion,” in, The Culture of Civil War in Kyoto (Berkeley: University of California Press, 1994).
Field trip report #1 due.
Session 6— Materializing economic power
Examine the birth and flourishing of a new townsman culture in Edo period by studying material culture of the time.
Required reading
Donald H. Shively, “Popular Culture,” in, Early Modern Japan, vol. 4 of The Cambridge History of Japan. John Whitney Hall and James L. McClain, eds., (Cambridge: Cambridge University Press, 1991), pp. 706-769.
Dale Carolyn Gluckman and Sharon Sadako Takeda, “Introduction,” in, When Art Became Fashion: Kosode in Edo Period Japan (Los Angeles: Los Angeles County Museum of Art, 1992), pp. 29-42.
Kumakura Isao, “Sen no Rikyu: Inquiries into His Life and Tea,” in, Tea in Japan: Essays on the History of Chanoyu (Honolulu: University of Hawaii Press, 1989), pp. 33-66.
Recommended reading
Herman Ooms, “Forms and Norms in Edo Arts and Society,” in Edo: Art in Japan 1615-1868 (Washington DC: National Gallery of Art, 1998), pp. 23-47.
Session 7— Midterm
Session 8— Printing popular culture
Investigate how the rise of publishing industry affected pop and visual cultures of early modern Japan. Preliminary report on final project due and will be discussed in class today.
Required reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 304-318. Mason is not included in the reader. Please find it at IES libraries.
Timothy Clark, “Utamaro’s Portraiture,” in, Proceedings of The Japan Society, 130 (Win, 1997), pp. 2-30.
Marcia Yonemoto, “Envisioning the Realm: Administrative and Commercial Maps in the Early Modern Period,” in, Mapping Early Modern Japan: Space, Place, and Culture in the Tokugawa Period (1603-1868), (Berkeley: University of California Press, 2003), pp. 8-43.
Recommended reading
Timothy Clark, “Mitate-e: Some Thoughts, and a Summary of Recent Writings,” in, Impressions. No. 19 (1997), pp. 6-27.
Timon Screech, Sex and the Floating World: Erotic Images in Japan, 1700-1820, (Honolulu: University of Hawaii Press, 1999).
Elizabeth Sabato Swinton, The Women of the Pleasure Quarter: Japanese Paintings and Prints of the Floating World, (New York: Hudson Hills Press, 1995).
Session 9— Field Study-- Deciphering vectors of influence, combined with field trip to National Museum of Modern Art. (Reading must be done before the trip.)
Consider the process of artistic exchange between different cultures by studying new Japanese painting styles developed during the late 19th century and European paintings that demonstrate Japanese influence.
Required reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 357-375. Mason is not included in the reader. Please find it at IES libraries.
Paul Varley, “Encounter with the West,” in, Japanese Culture, 4th ed., (Honolulu: University of Hawaii Press, 2000), pp. 235-270.
Recommended reading
Ellen P. Conant, Nihonga: Transcending the Past: Japanese Style Painting, 1868-1968, (St Louis, MO: St. Louis Art Museum, 1995).
Takashina Shuji, ed., Paris in Japan: The Japanese Encounter with European Painting, (St. Louis: Japan Foundation and Washington University, 1987).
Session 10— Distinguishing “self”
Explore definitions of artistic “self” in the early modern Japan by examining various practices of artistic production.
Required reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 273-304. Mason is not included in the reader. Please find it at IES libraries.
John Rosenfield, “Hokusai and Concepts of Eccentricity,” in, Hokusai Painting, Gian Carlo Calza, ed., (Venice: International Hokusai Research Centre, 1994), pp. 17-29.
Recommended reading
Yoshiaki Shimizu,“Multiple Connections: The Vegetable Nehan of Ito Jakuchu,” in, J. Sanford et al., ed., Flowing Traces: Buddhism in the Literary and Visual Arts of Japan, (Princeton, NJ: Princeton University Press, 1992), pp. 201-233.
Sasaki Johei, Okyo and the Maruyama-Shijo School of Japanese Painting, (St. Louis: St. Louis Art Museum, 1980).
Melinda Takeuchi, Taiga's True Views: The Language of Landscape Painting in Eighteenth-Century
Japan, (Stanford, CA: Stanford University Press, 1992).
Session 11— Contemporary Art and Popular Culture
Required reading
Yumi Yamaguchi “Introduction” in, Warriors of Art: A Guide to Contemporary Japanese Artists.
(Tokyo: Kodansha International, 2007), pp. 7-11.
Midori Matsui, “Introduction: Micropop:The Art of the Late Postmodern Age” in, The Age of Micropop:The New Generation of Japanese Artists (Tokyo: Parco, 2007), pp. 27-73. Matsui is not included in the reader. Please find it at IES libraries.
Field trip report #2 due
Session 12— Final Project Presentation
Required readings:
Dobbins, James “Buddhism in Japan,” in, Seattle Art Museum, ed., A Thousand Cranes San Francisco: Chronicle Books, 1987, pp. 25-41.
Foard, James H. “Ritual in the Buddhist Temples of Japan,” in, Katonah Museum of Art, Objects as Insight: Japanese Buddhist Art and Ritual Katonah: Katonah Museum of Art, 1995, pp. 12-17.
Faure, Bernard “The Buddhist Icon and the Modern Gaze,” in, Critical Inquiry vol. 24, no. 3 Spring 1998, pp. 768-792, 811-813.
Mason, Penelope History of Art New York: Harry Abrams, 1989, pp. 137-144.
Shikibu, Murasaki The Tale of Genji, Royall Tyler, trans. New York: Viking, 2001, pp. xi-xxiv, 1-18, 53-109,
Coaldrake, William H. “Nijo Castle and the Psychology of Architectural Intimidation,” in Architecture and Authority in Japan Londaon: Routledge, 1996, pp. 138-162.
McKelway, Mathew “In or Out of the Capital? Reading Point of View in Rakuchu Rakugai Zu: The Case of the Sanjo Version,” in, Transactions of the International Conference of Eastern Studies XL (1995), pp. 100-118.
Donald H. Shively, “Popular Culture,” in, Early Modern Japan, vol. 4 of The Cambridge History of Japan. Hall, John Whitney and McClain, James L. eds., Cambridge: Cambridge University Press, 1991, pp. 706-769.
Gluckman, Dale Carolyn and Takeda, Sharon Sadako “Introduction,” in, When Art Became Fashion: Kosode in Edo Period Japan Los Angeles: Los Angeles County Museum of Art, 1992, pp. 29-42.
Kumakura Isao, “Sen no Rikyu: Inquiries into His Life and Tea,” in, Tea in Japan: Essays on the History of Chanoyu Honolulu: University of Hawaii Press, 1989, pp. 33-66.
Mason, Penelope History of Art (New York: Harry Abrams, 1989), pp. 304-318.
Clark, Timothy “Utamaro’s Portraiture,” in, Proceedings of The Japan Society, 130 Win, 1997, pp. 2-30.
Yonemoto, Marcia “Envisioning the Realm: Administrative and Commercial Maps in the Early Modern Period,” in, Mapping Early Modern Japan: Space, Place, and Culture in the Tokugawa Period (1603-1868), Berkeley: University of California Press, 2003, pp. 8-43.
Mason, Penelope History of Art (New York: Harry Abrams, 1989), pp. 273-304.
Rosenfield, John “Hokusai and Concepts of Eccentricity,” in, Hokusai Painting, Gian Carlo Calza, ed., Venice: International Hokusai Research Centre, 1994, pp. 17-29.
Mason, Penelope History of Art New York: Harry Abrams, 1989, pp. 357-375.
Varley, Paul “Encounter with the West,” in, Japanese Culture, 4th ed., Honolulu: University of Hawaii Press, 2000, pp. 235-270.
Yamaguchi, Yumi “Introduction” in, Warriors of Art: A Guide to Contemporary Japanese Artists. (Tokyo: Kodansha International, 2007), pp. 7-11.
Matsui, Midori “Introduction: Micropop:The Art of the Late Postmodern Age” in, The Age of Micropop:The New Generation of Japanese Artists (Tokyo: Parco, 2007), pp. 27-73.
Recommended readings:
Ellison, George, and Bardwell L. Smith, eds. Warlords, Artists, & Commoners: Japan in the
Sixteenth Century. Honolulu: University of Hawaii Press, 1981.
Gluck, Carol. Japan’s Modern Myths: Ideologies in the Late Meiji Period. Princeton: Princeton
University Press, 1985.
Guth, Christine. Art of Edo Japan: the Artist and the City 1615-1868. New York: H.N. Abrams,
1996.
Hickman, Money, ed. Japan’s Golden Age: Momoyama. New Haven: Yale University Press, 1996.
Mason, Penelope. History of Japanese Art. New York: Harry N. Abrams, 1993.
Murasaki Shikibu. The Tale of Genji. Translated by Royall Tyler. New York: Viking, 2001.
Nishiyama, Matsunosuke. Edo Culture: Daily Life and Diversions in Urban Japan, 1600-1868. Honolulu: university of Hawaii Press, 1997.
Seattle Art Museum, ed. A Thousand Cranes. San Francisco: Chronicle Books, 1987.
Shimizu, Yoshiaki, ed. Japan: The Shaping of Daimyo Culture. New York: George Braziller, Inc., National Gallery of Art, Washington, 1988.
Singer, Robert T., ed. Edo: Art in Japan 1615-1868. Washington D.C.: National Gallery of Art,
1999.
Totman, Conrad. Early Modern Japan. Berkeley: University of California Press, 1993. Varley, Paul. Japanese Culture. 4th edition. Honolulu: Hawaii University Press, 2000.
Watson, William ed. The Great Japan Exhibition: Art of the Edo Period 1600-1868. New York: Alpine Fine Arts Collection, 1981.
Brief Biography of Instructor:
John Clammer is Visiting Professor of Sociology at the United Nations University, Tokyo and was formerly Professor of Sociology and Graduate Professor of Asian Studies at Sophia University. He received his D.Phil. degree from Oxford University and has taught and researched at universities in Germany, the UK, Australia, Korea, Argentina and Singapore. His teaching and research includes the sociology of art and culture, urbanism, development, religion and environment. Amongst his major recent books are “Japan and Its Others: Globalization, Difference and the Critique of Modernity” (2001), “Diaspora and Identity: The Sociology of Culture in Southeast Asia” (2002) and “Diaspora and Belief: Globalization, Religion and Identity in Postcolonial Asia” (2009).
This course is a selective survey of major developments in Japanese visual cultures (art and architecture). Particular emphasis is placed on the relationship between art and history, religion, and literature of pre- and early modern Japan and some contemporary examples. While the course moves somewhat chronologically, it also demonstrates fluidity between traditions of the distant past and their modern manifestations. The course examines themes such as the creation of religious images and spaces; the process of picturing political and economic authority; the social identity of artists and workshop production; the elite and commoner patronage and consumption; the use and re-use of the visual past to promote ideological claims; gender and representation; and the impact of foreign art in Japan. It also addresses issues specific to history of art and the sociology of art in order to accommodate students who are unfamiliar with these academic disciplines.
None
Attendance to all class meetings is required for all IES Abroad Area Studies courses. The three-hour format for classes makes missing a single class equivalent to missing a full week during a regular semester. Therefore, students are permitted a maximum of one unexcused absence. Additional unexcused absences will result in a penalty of one of letter grade from your final grade, for each additional absence—i.e. two missed classes turns an A into a B, three turns it into a C, and so on.
By the end of the course students will be able to:
Lectures, discussions, student presentations, field study excursions.
1. Class preparation and participation (20%): Students are expected to attend all 12 meetings with adequate preparation to actively participate in discussions. Students are required to write a 100-200 word summary/response for one of the required readings for each session and a brief oral report on sites visited during the week appropriate to the topic and submit their response paper to the instructor at the class meeting. Students are asked to lead some class discussions.
2. Field study report and presentation (20%): One session will take place at the Tokyo National Museum and one at the Tokyo National Museum of Modern Art. Assignments specific to this trip will be given and graded.
3. Mid-term exam (30%)
4. Final research paper and presentation (30%): Students are asked to write an in-depth study of an object or a series of objects related to eras and areas covered in the course (10-12 pages). Students are encouraged to think about the topic of their paper early, as paper topics and preliminary bibliography will be required for submission on November 9th. Each student will make a brief presentation on his/her paper topic and the class will ask questions, offer suggestions, and provide feedback to help presenters develop their ideas. Students will present their final papers with visual aid (slide/power point/handouts) during the last class session. Each student will be responsible for presenting one’s own paper and responding to another class member’s paper.
Note:
• Recommended readings are not included in the course reader
• Copies of the required Readings that are not in this course reader will be provided
• The readings for the first 2 weeks are not included in the course reader
Session 1— Course introduction
Brief overview of course content. Introduction of visual resources and texts used in the course. Recommended museums and galleries in the greater Tokyo area in addition to those that we will be visiting during the course.
Session 2— Visualizing Faith
Examine topics integral to an understanding of Buddhist art and architecture in Japan by studying temple sites and architectural forms, Buddhist iconography and icons, and ritual practices.
Required reading
James Dobbins, “Buddhism in Japan,” in, Seattle Art Museum, ed., A Thousand Cranes (San Francisco: Chronicle Books, 1987), pp. 25-41.
James H. Foard, “Ritual in the Buddhist Temples of Japan,” in, Katonah Museum of Art, Objects as Insight: Japanese Buddhist Art and Ritual (Katonah: Katonah Museum of Art, 1995), pp. 12-17.
Bernard Faure, “The Buddhist Icon and the Modern Gaze,” in, Critical Inquiry vol. 24, no. 3 (Spring 1998), pp. 768-792, 811-813.
Recommended reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 38-42, 47-59, 62-80, 99-108, 165-176, 193-194.
Elizabeth ten Grotenhuis, Japanese Mandalas: Representations of Sacred Geography, (Honolulu: University of Hawaii Press, 1999).
Session 3— Illustrating Narratives
Explore various formats of Japanese paintings by paying a special attention to visual representations that recount narratives. Investigate issues such as text-image relationship and cross-referencing between literature and art.
Required reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 137-144. Mason is not included in the reader. Please find it at IES libraries.
Murasaki Shikibu, The Tale of Genji, Royall Tyler, trans. (New York: Viking, 2001), pp. xi-xxiv, 1-
18, 53-109,
Recommended reading
Miyeko Murase, Iconography of the Tale of Genji: Genji monogatari ekotoba (New York: Weatherhill, 1983).
Julia Meech-Pekarik, “The Artist’s View of Ukifune,” in Andrew Pekarik , ed., Ukifune: Love in The
Tale of Genji (New York: Columbia University Press, 1982), pp. 173-215.
Session 4— Field Study-- Tokyo National Museum, Ueno
Consider concepts such as high vs. low, functional vs. decorative, and religious vs. secular art using objects on permanent view. Students will be asked to write a short paper using a specific object to further evaluate these binaries.
Session 5— Picturing political authority
Explore how political authority is articulated in art and architecture of medieval and early modern Japan.
Required reading
William H. Coaldrake, “Nijo Castle and the Psychology of Architectural Intimidation,” in,
Architecture and Authority in Japan (Londaon: Routledge, 1996), pp. 138-162.
Mathew McKelway, “In or Out of the Capital? Reading Point of View in Rakuchu Rakugai Zu: The Case of the Sanjo Version,” in, Transactions of the International Conference of Eastern Studies XL (1995), pp. 100-118.
Recommended reading
Kendall H. Brown, The Politics of Reclusion: Painting and Power in Momoyama Japan (Honolulu: University of Hawaii Press, 1997).
Karen M. Gerhart, The Eyes of Power: Art and Early Tokugawa Authority (Honolulu: University of Hawaii Press, 1999).
Paul Varley, “The Country Unified,” in, Japanese Culture, 4th ed., (Honolulu: University of Hawaii Press, 2000), pp. 140-163.
Mary Elizabeth Berry, “Conclusion,” in, The Culture of Civil War in Kyoto (Berkeley: University of California Press, 1994).
Field trip report #1 due.
Session 6— Materializing economic power
Examine the birth and flourishing of a new townsman culture in Edo period by studying material culture of the time.
Required reading
Donald H. Shively, “Popular Culture,” in, Early Modern Japan, vol. 4 of The Cambridge History of Japan. John Whitney Hall and James L. McClain, eds., (Cambridge: Cambridge University Press, 1991), pp. 706-769.
Dale Carolyn Gluckman and Sharon Sadako Takeda, “Introduction,” in, When Art Became Fashion: Kosode in Edo Period Japan (Los Angeles: Los Angeles County Museum of Art, 1992), pp. 29-42.
Kumakura Isao, “Sen no Rikyu: Inquiries into His Life and Tea,” in, Tea in Japan: Essays on the History of Chanoyu (Honolulu: University of Hawaii Press, 1989), pp. 33-66.
Recommended reading
Herman Ooms, “Forms and Norms in Edo Arts and Society,” in Edo: Art in Japan 1615-1868 (Washington DC: National Gallery of Art, 1998), pp. 23-47.
Session 7— Midterm
Session 8— Printing popular culture
Investigate how the rise of publishing industry affected pop and visual cultures of early modern Japan. Preliminary report on final project due and will be discussed in class today.
Required reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 304-318. Mason is not included in the reader. Please find it at IES libraries.
Timothy Clark, “Utamaro’s Portraiture,” in, Proceedings of The Japan Society, 130 (Win, 1997), pp. 2-30.
Marcia Yonemoto, “Envisioning the Realm: Administrative and Commercial Maps in the Early Modern Period,” in, Mapping Early Modern Japan: Space, Place, and Culture in the Tokugawa Period (1603-1868), (Berkeley: University of California Press, 2003), pp. 8-43.
Recommended reading
Timothy Clark, “Mitate-e: Some Thoughts, and a Summary of Recent Writings,” in, Impressions. No. 19 (1997), pp. 6-27.
Timon Screech, Sex and the Floating World: Erotic Images in Japan, 1700-1820, (Honolulu: University of Hawaii Press, 1999).
Elizabeth Sabato Swinton, The Women of the Pleasure Quarter: Japanese Paintings and Prints of the Floating World, (New York: Hudson Hills Press, 1995).
Session 9— Field Study-- Deciphering vectors of influence, combined with field trip to National Museum of Modern Art. (Reading must be done before the trip.)
Consider the process of artistic exchange between different cultures by studying new Japanese painting styles developed during the late 19th century and European paintings that demonstrate Japanese influence.
Required reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 357-375. Mason is not included in the reader. Please find it at IES libraries.
Paul Varley, “Encounter with the West,” in, Japanese Culture, 4th ed., (Honolulu: University of Hawaii Press, 2000), pp. 235-270.
Recommended reading
Ellen P. Conant, Nihonga: Transcending the Past: Japanese Style Painting, 1868-1968, (St Louis, MO: St. Louis Art Museum, 1995).
Takashina Shuji, ed., Paris in Japan: The Japanese Encounter with European Painting, (St. Louis: Japan Foundation and Washington University, 1987).
Session 10— Distinguishing “self”
Explore definitions of artistic “self” in the early modern Japan by examining various practices of artistic production.
Required reading
Penelope Mason, History of Art (New York: Harry Abrams, 1989), pp. 273-304. Mason is not included in the reader. Please find it at IES libraries.
John Rosenfield, “Hokusai and Concepts of Eccentricity,” in, Hokusai Painting, Gian Carlo Calza, ed., (Venice: International Hokusai Research Centre, 1994), pp. 17-29.
Recommended reading
Yoshiaki Shimizu,“Multiple Connections: The Vegetable Nehan of Ito Jakuchu,” in, J. Sanford et al., ed., Flowing Traces: Buddhism in the Literary and Visual Arts of Japan, (Princeton, NJ: Princeton University Press, 1992), pp. 201-233.
Sasaki Johei, Okyo and the Maruyama-Shijo School of Japanese Painting, (St. Louis: St. Louis Art Museum, 1980).
Melinda Takeuchi, Taiga's True Views: The Language of Landscape Painting in Eighteenth-Century
Japan, (Stanford, CA: Stanford University Press, 1992).
Session 11— Contemporary Art and Popular Culture
Required reading
Yumi Yamaguchi “Introduction” in, Warriors of Art: A Guide to Contemporary Japanese Artists.
(Tokyo: Kodansha International, 2007), pp. 7-11.
Midori Matsui, “Introduction: Micropop:The Art of the Late Postmodern Age” in, The Age of Micropop:The New Generation of Japanese Artists (Tokyo: Parco, 2007), pp. 27-73. Matsui is not included in the reader. Please find it at IES libraries.
Field trip report #2 due
Session 12— Final Project Presentation
Dobbins, James “Buddhism in Japan,” in, Seattle Art Museum, ed., A Thousand Cranes San Francisco: Chronicle Books, 1987, pp. 25-41.
Foard, James H. “Ritual in the Buddhist Temples of Japan,” in, Katonah Museum of Art, Objects as Insight: Japanese Buddhist Art and Ritual Katonah: Katonah Museum of Art, 1995, pp. 12-17.
Faure, Bernard “The Buddhist Icon and the Modern Gaze,” in, Critical Inquiry vol. 24, no. 3 Spring 1998, pp. 768-792, 811-813.
Mason, Penelope History of Art New York: Harry Abrams, 1989, pp. 137-144.
Shikibu, Murasaki The Tale of Genji, Royall Tyler, trans. New York: Viking, 2001, pp. xi-xxiv, 1-18, 53-109,
Coaldrake, William H. “Nijo Castle and the Psychology of Architectural Intimidation,” in Architecture and Authority in Japan Londaon: Routledge, 1996, pp. 138-162.
McKelway, Mathew “In or Out of the Capital? Reading Point of View in Rakuchu Rakugai Zu: The Case of the Sanjo Version,” in, Transactions of the International Conference of Eastern Studies XL (1995), pp. 100-118.
Donald H. Shively, “Popular Culture,” in, Early Modern Japan, vol. 4 of The Cambridge History of Japan. Hall, John Whitney and McClain, James L. eds., Cambridge: Cambridge University Press, 1991, pp. 706-769.
Gluckman, Dale Carolyn and Takeda, Sharon Sadako “Introduction,” in, When Art Became Fashion: Kosode in Edo Period Japan Los Angeles: Los Angeles County Museum of Art, 1992, pp. 29-42.
Kumakura Isao, “Sen no Rikyu: Inquiries into His Life and Tea,” in, Tea in Japan: Essays on the History of Chanoyu Honolulu: University of Hawaii Press, 1989, pp. 33-66.
Mason, Penelope History of Art (New York: Harry Abrams, 1989), pp. 304-318.
Clark, Timothy “Utamaro’s Portraiture,” in, Proceedings of The Japan Society, 130 Win, 1997, pp. 2-30.
Yonemoto, Marcia “Envisioning the Realm: Administrative and Commercial Maps in the Early Modern Period,” in, Mapping Early Modern Japan: Space, Place, and Culture in the Tokugawa Period (1603-1868), Berkeley: University of California Press, 2003, pp. 8-43.
Mason, Penelope History of Art (New York: Harry Abrams, 1989), pp. 273-304.
Rosenfield, John “Hokusai and Concepts of Eccentricity,” in, Hokusai Painting, Gian Carlo Calza, ed., Venice: International Hokusai Research Centre, 1994, pp. 17-29.
Mason, Penelope History of Art New York: Harry Abrams, 1989, pp. 357-375.
Varley, Paul “Encounter with the West,” in, Japanese Culture, 4th ed., Honolulu: University of Hawaii Press, 2000, pp. 235-270.
Yamaguchi, Yumi “Introduction” in, Warriors of Art: A Guide to Contemporary Japanese Artists. (Tokyo: Kodansha International, 2007), pp. 7-11.
Matsui, Midori “Introduction: Micropop:The Art of the Late Postmodern Age” in, The Age of Micropop:The New Generation of Japanese Artists (Tokyo: Parco, 2007), pp. 27-73.
Ellison, George, and Bardwell L. Smith, eds. Warlords, Artists, & Commoners: Japan in the
Sixteenth Century. Honolulu: University of Hawaii Press, 1981.
Gluck, Carol. Japan’s Modern Myths: Ideologies in the Late Meiji Period. Princeton: Princeton
University Press, 1985.
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John Clammer is Visiting Professor of Sociology at the United Nations University, Tokyo and was formerly Professor of Sociology and Graduate Professor of Asian Studies at Sophia University. He received his D.Phil. degree from Oxford University and has taught and researched at universities in Germany, the UK, Australia, Korea, Argentina and Singapore. His teaching and research includes the sociology of art and culture, urbanism, development, religion and environment. Amongst his major recent books are “Japan and Its Others: Globalization, Difference and the Critique of Modernity” (2001), “Diaspora and Identity: The Sociology of Culture in Southeast Asia” (2002) and “Diaspora and Belief: Globalization, Religion and Identity in Postcolonial Asia” (2009).