This is the first comprehensive English-language study of East Asian art history in a transnational context, and challenges the existing geographic, temporal, and generic paradigms that currently frame the art history of East Asia.
This is the first comprehensive English-language study of East Asian art history in a transnational context, and challenges the existing geographic, temporal, and generic paradigms that currently frame the art history of East Asia.
Eriko Tomizawa-Kay is Lecturer in Japanese, University of East Anglia and Academic Associate at the Sainsbury Institute for Japanese Arts and Cultures. Toshio Watanabe is Professor for Japanese Arts and Cultural Heritage at the Sainsbury Institute for the Study of Japanese Arts and Cultures, University of East Anglia and Emeritus Professor of History of Art and Design, Research Centre for Transnational Art, Identity and Nation, University of the Arts London.
Inhaltsangabe
Contents List of figures Notes on contributors Acknowledgements Notes on translation and names Introduction Part I Constructing the Idea of East Asian Art 1 Shimao Arata, Reconsidering the History of East Asian Painting from China (ch goku kaiga) and Chinese-style painting (kara-e) in Japan 2 Itakura Masaaki, The Imperial Treasures of the Sh s in and the Collections of the Tang Emperors 3 Sat D shin, Overcoming Modernity: Toward a Concept of 'East Asian Art History' Part II New Ways of Looking at Others 4 Miura Atsushi, The Triangle of Modern Japanese Y ga: Paris, Tokyo, and East Asia 5 Min-jong Shin, 'Marginal Man' Pai Un-soung (1900-1978): His European Experience, His Views, and His Art 6 Eriko Tomizawa-Kay, Reinventing Localism, Tradition, and Identity: The Role of Modern Okinawan Painting (1930s-1960s) 7 Kitazawa Noriaki, The Evolution and Modernization of the Sculpture Genre in East Asia According to the Japanese Example 8 Adachi Gen, War and Pornography in East Asia Part III Translation of Art within East Asia 9 Aida Wong, Chinese Seal Carving in Modern Japan: Qian Shoutie's Relationship with Hashimoto Kansetsu 10 Tamaki Maeda, 'National Painting' Unbound: Modernizing Ink Painting in the Sino-Japanese Art World 11 Junia Roh, Korean Lacquerwork Craftsmen Who Went to Japan: Change and Innovation in Korean Lacquerwork During the Colonial Period 12 Liu Yu-jen, The Concept of Art in the Meishu Congshu: From Foreign Loan to National Tradition Glossary Index
Contents List of figures Notes on contributors Acknowledgements Notes on translation and names Introduction Part I Constructing the Idea of East Asian Art 1 Shimao Arata, Reconsidering the History of East Asian Painting from China (ch goku kaiga) and Chinese-style painting (kara-e) in Japan 2 Itakura Masaaki, The Imperial Treasures of the Sh s in and the Collections of the Tang Emperors 3 Sat D shin, Overcoming Modernity: Toward a Concept of 'East Asian Art History' Part II New Ways of Looking at Others 4 Miura Atsushi, The Triangle of Modern Japanese Y ga: Paris, Tokyo, and East Asia 5 Min-jong Shin, 'Marginal Man' Pai Un-soung (1900-1978): His European Experience, His Views, and His Art 6 Eriko Tomizawa-Kay, Reinventing Localism, Tradition, and Identity: The Role of Modern Okinawan Painting (1930s-1960s) 7 Kitazawa Noriaki, The Evolution and Modernization of the Sculpture Genre in East Asia According to the Japanese Example 8 Adachi Gen, War and Pornography in East Asia Part III Translation of Art within East Asia 9 Aida Wong, Chinese Seal Carving in Modern Japan: Qian Shoutie's Relationship with Hashimoto Kansetsu 10 Tamaki Maeda, 'National Painting' Unbound: Modernizing Ink Painting in the Sino-Japanese Art World 11 Junia Roh, Korean Lacquerwork Craftsmen Who Went to Japan: Change and Innovation in Korean Lacquerwork During the Colonial Period 12 Liu Yu-jen, The Concept of Art in the Meishu Congshu: From Foreign Loan to National Tradition Glossary Index
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