| Budget Amount *help |
¥2,600,000 (Direct Cost: ¥2,600,000)
Fiscal Year 2006: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 2005: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 2004: ¥1,000,000 (Direct Cost: ¥1,000,000)
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| Research Abstract |
One of the key issues in the study of modern Japanese art is the manner in which Japanese art selectively absorbed concepts and techniques from the Western art tradition. Equally important however, is the fact that Japan did not merely import from Europe but also exported its own aesthetic to the West.
In this project I studied source materials and specific works by three Japanese painters-Kawamura Kiyoo, Yamamoto Hosui, and Takeuchi Seiho-to examine the kind of friction between wa(Japanese) and yo(Western) that emerged in modern Japanese art when it encountered the art of the West.
The Yoga(Western-style painting) artist Kawamura Kiyoo(1852-1934) painted a work titled Kenkoku(Foundation of a State), symbolically depicting the myth of Japan's founding. I investigated source materials pertaining to the conception and production of this painting, currently in the collection of the Musee Guimet in Paris, and deciphered the massage of wa and yo implicit in the work, which was given to the Fr
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ance as a gift.
Another Yoga painter, Yamamoto Hosui(1850-1906), executed the illustration for a poetry anthology titled Seirei-shu(Poemes de la Libellule; Dragonfly Poems), published in France in 1885. I examined the relationship between these illustrations and Japanese artistic tradition and considered what aspects of these works would have appeared "Japanese" to the Parisians of the time and the way in which their artistic novelty galvanized the European art world. I also studied the background painting used for the of a Tokyo Music School production of the Opera Orpheus, for which Hosui acted as art director, after returning to Japan.
In respect to Takeuchi Seiho(1846-1942), a Nihonga(Japanese-style painting) artist who worked mainly in Kyoto, I studied the impact his experience in Europe had on his art after his return to Japan and analyzed the different ways Tokyo and Kyoto artists absorbed Western influences.
Finally, I reexamined basic sources concerning the way in which figural representation and particularly representation of the nude a basic aspect of the traditional Western historical and mythological painting-was incorporated into Japanese modern art and revisited this question. Less
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