Japanese Export Art of the Edo Period and its Influence on European Art

1984 ◽  
Vol 18 (4) ◽  
pp. 685-697 ◽  
Author(s):  
Oliver Impey

The opening up of Japan to the west and the consequent influences of the west and of Japan upon each other are remarkable for many reasons, not least of which is the interchange of styles and techniques of the arts and crafts one to the other. The export of Japanese works of art, and the influence upon European artistic production during the Meiji period (though often of works produced during the Edo period) have all but obscured the remarkable effects Japanese export art had upon the west during the period of self-imposed semi-isolation. Of course Japan was also greatly influenced by western art; that is not the subject of this paper, but it is a subject of great interest, worthy of considerable attention.

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.


Organization ◽  
2017 ◽  
Vol 24 (3) ◽  
pp. 330-354 ◽  
Author(s):  
Patrizia Zanoni ◽  
Annelies Thoelen ◽  
Sierk Ybema

Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.


2020 ◽  
Vol 0 (21) ◽  
pp. 0-0
Author(s):  
Merve KURT KIRAL ◽  
Emel AKIN

Spaces are conditioned by social conditions; on the other hand, social structure is affected by spaces. Arcades, the subject of this article, first appeared in Europe in the 18th century as a result of an increase in trading activities. The arcades in Ankara, which were started to be built in the 1950s together with increasing trading activities, contributed to the urban economy with intense activities of shopping, re-determined social and urban relations as essential places of everyday life and became distinctive urban buildings with their original building typologies and the function of maintaining public continuity in the area of private ownership. Aim: This study aims to study the process in which passages emerged and to analyze their spatial features and, in particular, to examine the spatial formation of the distinctive passages in Ankara on the basis of their causation. Method: In the article, spatial features of the passages in the West were mentioned, and the conditions of the period in which the passages in Ankara were built were briefly explained. Spatial analysis of the passages found in the research area were conducted, and the formation of these passages were analyzed together with their reasons. Results: Of the 31 arcades in Ankara, 27 were built between 1950 and 1980 on and around the Atatürk Boulevard in Yenişehir/Kizilay. As of the mid-1950s, new planning decisions which were made one after the other in the built-up area re-shaped the Boulevard and its surrounding as the existing buildings were demolished, allowing to construct new buildings with arcades or stores in their entrances. Their interior designs and connections to the streets are different from the arcades in the West. Conclusion: The present subdivision system and new planning decisions applied in property order shaped the passages which were peculiar to Ankara.


Author(s):  
Dobrochna Zielińska

After the collapse of the Meroitic Empire, three independent kingdoms arose within its former territory. Because of a lack of centralized political authority and artistic production, their early development, although based on the Meroitic inheritance, was determined by different sources of influence. From the 8th century two united northern kingdoms became a powerful state, which is also reflected in its art. Rising creativity from the 9th century onwards reflected local needs and ambitions. In the course of time, surrounded by Islamic neighbors, Nubian art on one hand remained independent in its forms of art, but on the other hand absorbed a new style and iconographic details, which is most visible in 12th-century wall painting. Most probably it reflected a changing lifestyle, inspired by the wider Middle Eastern world at that time. The late period, although characterized by much less activity and financial possibilities of individuals or communities, still shows flourishing activities of Nubian artists. Christian Nubian culture ended almost simultaneously with the Byzantine empire, leaving almost one thousand years of its unique heritage.


1938 ◽  
Vol 18 (1) ◽  
pp. 68-74 ◽  
Author(s):  
Philip Corder ◽  
I. A. Richmond

The Roman Ermine Street, having crossed the Humber on the way to York from Lincoln, leaves Brough Haven on its west side, and the little town of Petuaria to the east. For the first half-mile northwards from the Haven its course is not certainly known: then, followed by the modern road, it runs northwards through South Cave towards Market Weighton. In the area thus traversed by the Roman road burials of the Roman age have already been noted in sufficient quantity to suggest an extensive cemetery. The interment which is the subject of the present note was found on 10th October 1936, when men laying pipes at right angles to the modern road, in the carriage-drive of Mr. J. G. Southam, having cut through some 4 ft. of blown sand, came upon a mass of mixed Roman pottery, dating from the late first to the fourth century A.D. Bones of pig, dog, sheep, and ox were also represented. Presently, at a depth of about 5 ft., something attracted closer attention. A layer of thin limestone slabs was found, covering two human skeletons, one lying a few feet from the west margin of the modern road, the other parallel with the road and some 8 ft. from its edge. The objects described below were found with the second skeleton, and the first to be discovered was submitted by Mr. Southam to Mr. T. Sheppard, F.S.A.Scot., Director of the Hull Museums, who visited the site with his staff. All that can be recorded of the circumstances of the discovery is contained in the observations then made, under difficult conditions. ‘Slabs of hard limestone’, it was reported, ‘taken from a local quarry of millepore oolite and forming the original Roman road, were distinctly visible beneath the present roadway—one of the few points where the precise site of the old road has been located. On the side of this… a burial-place has been constructed. What it was like originally it is difficult to say, beyond that a layer of thin … slabs of limestone occurred over the skeletons. This had probably been kept in place or supported by some structure of wood, as several large iron nails, some bent at right angles, were among the bones.’ If this were all that could be said about the burials, they would hardly merit a place in these pages. The chief interest of the record would be its apparent identification of the exact course of the Roman road at a point where this had hitherto been uncertain. Three objects associated with the second skeleton are, however, of exceptional interest.


Author(s):  
Roger Nelson

Cambodian modernity was chiefly shaped by the forces of colonization, decolonization, and the Cold War. These influences had singular consequences for art and culture in Cambodia, in turn shaping a distinct Cambodian modernism. From the establishment of a national art school in 1918 until the 1940s, Cambodian artists were forbidden to use forms that were perceived to be European. This was the result of a strict cultural policy designed to preserve and protect what were thought of as authentically traditional Cambodian arts and crafts. In the 1950s and 1960s, during King Norodom Sihanouk’s independent Cambodian SangkumReastrNiyum [People’s Socialist Community], the arts flourished as a key site for articulating a new nationalist identity. However, the promise of this period—popularly remembered as a cultural golden age—was shattered by violent political upheavals, beginning with the outbreak of civil war in 1970. During Pol Pot’s Khmer Rouge regime of 1975–1979, approximately 1.7 million Cambodians perished, including an estimated ninety per cent of all artists and intellectuals. Under the regime, most familiar forms of art and culture were forbidden. In 1979, invading Vietnamese forces ousted the Khmer Rouge and in the following decade artistic production focused on rebuilding after the devastation. Finally, the 1992–1993 United Nations occupation of Cambodia heralded a new era of transnational cultural exchanges, often based in discourses of aid and development.


Antiquity ◽  
1927 ◽  
Vol 1 (4) ◽  
pp. 447-468 ◽  
Author(s):  
William Page

Little has been done towards solving the problem of the Saxon settlement of England by studying the types of villages and their distribution. Professor Maitland saw the importance of the subject and pointed out how valuable in this respect was the ordnance map ‘that marvellous palimpsest which under Dr Meitzen's guidance we are beginning to decipher’. Helpful, however, as the ordnance maps are, they cannot be read alone, a knowledge of the archaeology, history and topography of the district under review is a necessary equipment for such an investigation. The remarks here made are tentative and are offered in the hope they may be an incentive to others with local knowledge to examine the evidence of their districts.Professor Maitland, following Dr. Meitzen and others, has adopted two main types of settlements, namely, the scattered or dispersed, and the nucleated or clustered. These two types probably comprehend all forms of settlements, but certainly the nucleated type and possibly the scattered type, show many variants which it may be well to indicate before a methodical study of the subject can be made. I have elsewhere suggested the following classification of English towns and villages which will no doubt require modification and amplification but may meet a want for a preliminary inquiry; (I) scattered or dispersed settlements, (2) nucleated or clustered settlements off lines of communication, (3) nucleated settlements on lines of communication, (4) ring-fence settlements, (5) towns with bridge heads and double towns, (6) towns of gridiron plan, (7) towns of spider's web plan, (8) Bastide towns. Except for the first of these classes all of them are nucleated or clustered, and to this wider division I propose to devote my attention. It may perhaps be pointed out, however, that the scattered or dispersed settlements occur chiefly in Wales and in the west and north of England. They are found throughout Cornwall, in Devon, Somerset and the open parts of the Welsh border counties, in Yorkshire and Derbyshire, and probably they are the origin of the great parishes with their numerous townships of the other northern counties. They were adapted for a pastoral people and are generally to be found in moorland or mountainous country which has become divided into large parishes. They consist of hamlets and single houses or small groups of houses scattered somewhat promiscuously throughout a district. The principal hamlet from which the settlement or parish takes its name-which was probably the meeting place of the district and where the church was eventually placed-was generally on high land or a main road and frequently at cross roads, bridges, or such like places of nodality.


Author(s):  
Ayhan Ozer

Teaching of the arts which include universal values and rules in essence ,in spite of containing local signs, should be formed by universal criteria’s and the richness, and contain diversity as well.  Intercultural interaction is an opportunity that may offer important advantages to this diversity. To be the subject of education and training of the arts, which is almost in the same age with humanity, in Turkey coincides with relatively near future. Turkish art education institutions, trying to fit the process of understanding hundreds of years of tradition and rules into a few decades, tried to speed up this process by going especially western countries or bringing artists from there. While the number does not exceed fingers of two hands especially in the last ten-fifteen years, now the expression of these numbers with three-digit numbers made the need for qualified instructors preferred. On the one hand this case contains various handicaps, but on the other hand, it can be considered as an opportunity. These study opportunities were designed to detect the sample.Keywords: art, intercultural interaction, Azerbaijani painters.


1969 ◽  
Vol 4 (2) ◽  
pp. 259-274 ◽  
Author(s):  
Eric J. Sharpe

To the student of the recent history of theological ideas in the West, it sometimes seems as though, of all the ‘new’ subjects that have been intro duced into theological discussion during the last hundred or so years, only two have proved to be of permanent significance. One is, of course, biblical criticism, and the other, the subject which in my University is still called ‘comparative religion’—the (as far as possible) dispassionate study of the religions of the world as phenomena in their own right.


Author(s):  
Amanda Barbosa Lisboa ◽  
Marcela Rodrigues Ciccone ◽  
Marina Kadekaru ◽  
Izabel Cristina Rios

Abstract: Introduction: The humanization of assistance is associated to empathy, embracing, and effective communication, being part of the medical training. According to its nature, humanization requires methods that involve affections and stimulates critical thinking. Objective: Extensive literature shows the benefits of the arts in medical education; however, there are still few studies on dancing, the subject of this study, which was carried out by medical students and whose aim was to investigate hospital dancing in the teaching of humanization, from the perspective of medical students. Method: A qualitative action research study was designed, in which medical students performed choreographies for patients, companions and employees in three different wards of the teaching hospital. The action consisted of continuous cycles in the planning of interventions, performance, observing, reflection, and re-planning of subsequent actions, in a systematic manner and controlled by the researchers. Data production took place by direct observation, narratives and focal group. The data were analyzed using the content and thematic analysis methods. Results: For three months, 17 female and 7 male students between 18 and 24 years of age performed the action, producing data that was subsequently classified into 3 thematic categories: 1. Dimension of affection: contents of the student’s emotional character; 2. Care dimension: contents about caring for the patient; 3. Dance dimension: contents on dance in the humanistic training in Medicine. In the triangulation of the techniques, it was observed that joy, anxiety, and the perception of dance as an instrument of bonding were significant. The experience of changing socially-marked places for the student and the patient made the student face and overcome different feelings. The dance allowed the refinement of the look and the capacity to understand the other, taking into account perspectives that converge to or diverge from their own convictions. On the other hand, the students experienced the anxiety and joy of an encounter with themselves, perceiving dance as a pleasurable and humanizing activity. Conclusion: The dance in the hospital lead to experiences and reflections that stimulated the students’ self-knowledge, favored the student-patient relationship, and brought elements to understand the use of dancing in medicine, mainly for the teaching of empathy and humanized care.


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